Skip to main content

Full text of "The Creative Woman"

See other formats


fhe Oeatk)e\\)oman 

Quarterly 




FALL 1983 

Contains Index to 5 & 6 




The 
, Creatine 
Ionian 



A quarterly, Governors State University, University Park, IL 60466-3193 



Vol. 6, No. 4 FALL 1983 



Published under the auspices of the Provost's Office, © Governors State University and Helen Hughes ISSN 0736-4733 



STAFF 

Helen E. Hughes, Editor 
Joan Lewis, Managing Editor 
Suzanne Oliver, Art Director 
Peggy Jeffers, Editorial Assistant 



ADVISORY COUNCIL 

Donna Bandstra, Social Sciences 

Margaret Brady, Journalism 

Rev. Ellen Dohner, Religion 

Rita Durrant, League of American Penwomen 

Ann Gerhart, Women's Networking 

Harriet Gross, Sociology/Woman's Studies 

Helene Guttman, Biological Sciences 

Young Kim, Communications Science 

Harriet Marcus Gross, Journalism 

Elizabeth Ohm, Library Resources 

Betye Saar, Fine Arts 

Sara Shumer, Political Theory 

Emily Wasiolek, Literature 

Rev. Elmer Witt, Campus Ministries 



TABLE OF CONTENTS 



PAGE 



Introduction 3 

Confronting the Goddess... Within and 

Without 
by Ellen Harvell Dohner 4 

Two Faces of Aphrodite by Paul Friedrich 7 

The One That You Love by Deborah 

Friedrich 7 

Vulvas, Breasts and Buttocks of the 

Goddess Createss: Commentary on the 

Origins of Art 
by Marija Gimbutas 8 

The Goddess is Alive and Magic is Afoot 

by Ginny Brubaker 12 

The Goddess in the New World Alliance by 

Bethe Hagens 17 

Introduction by Carolyn Carmichael 
At the Cloisters by Margaret Treitel 22 

The Woman Who Wears Dead Snakes on 

Her Arms 
by Katharyn Machan Aal 23 

Oh She Dances by Katharyn Machan Aal 23 

Fertile Goddess by Tobi Casselman 24 

The Goddess in Three Bodies by Tobi 

Casselman 24 

Waiting for Christine by Elizabeth A. Havey 25 

Creative Lives: Lynn Thomas Strauss by 

Margaret Brady 28 

Book Review: Dreaming the Dark: Magic, 

Sex and Politics 
by Starhawk 

Reviewed by Ellen H. Dohner 31 

Book Review: Voluntary Simplicity by Duane 

Elgin 
Reviewed by Young Y. Kim 32 

Women in Film by Joan Lewis 34 

Letters to the Editor 35 

Announcements 38 

Editor's Column 41 

Index: Volumes 5 and 6 

Compiled by Peggv Jeffers 43 

About Our Staff 46 



The Creative Woman is a quarterly published by Governors 
State University. We focus on a special topic in each issue, 
presented from a feminist perspective. We celebrate the 
creative achievements of women in many fields and appeal to 
inquiring minds. We publish fiction, poetry, book reviews, ar- 
ticles, photography and original graphics. 



This issue was typed on the Lexitron word processor by 
Mary Bixler and Linda Kuester and typeset by Leda Lance. 




Cover photograph © Wynn Bullock, permission granted by 
Edna Bullock. 



INTRODUCTION 

A good friend of this Quarterly recently asked, 
"What is this Goddess stuff? It puts me off a 
bit." She wondered if this might be "female 
chauvinism". Perhaps this special issue on the 
Goddess, Goddesses, the female aspect of the 
Godhead, will answer her question and put it in 
perspective. 

We start with Reverend Ellen Dohner's pulpit 
address, considering the Goddess from the point 
of view of liberal religion— in this case, Unitarian 
Universalist. Paul and Deborah Friedrich, both of 
whom contributed poems to our Vol. 1, No. 1 
issue back in 1977, have sent us their recent 
work. Marija Gimbutas, scholar of archeology at 
UCLA, has provided her thoroughly documented 
answer to male archeological arguments on the 
meaning of pre-historic female figurines. Ginny 
Brubaker is a real live present day practitioner of 
Goddess Worship, and those who are drawn to 
these rituals of our common ancient past will 
enjoy her poetic incantations and celebrations of 
nature, seasons, stars, and all of life. Our 
resident anthropologist, Bethe Hagens ("The 
Goddess in the New World Alliance") describes 
the extension of "networking" into new 
configurations of connectedness, with 
coincidences that cannot be explained by existing 
scientific means; her article reminds us of the 
Chinese use of the I Ching: "At any given 
moment, everything fits into the particular pattern 
of the moment. If one has an intuitive 
appreciation of universal movements during their 
instants of change, the art of good living is within 
one's reach."* 

More poems and a short story by Elizabeth 
Havey about her experience of waiting to bring 
forth new life develop further the concept of 
creative female power, usually identified by 
ancient people as divine. Margaret Brady 
contributed a loving and searching interview with 
Lynn Strauss, as the second in our series on 
"Creative Lives" — the women who produce this 
quarterly. We have book reviews, film reviews, a 
sad wave of goodbye to two who have left us, and 
an unprecedented plethora of Letters to the 
Editor, sparked by Doug Knox's article in the 
previous issue. We can always count on Doug to 
stimulate controversy, and we think you will find 
some serious arguments and counter-arguments 
here. We hope you enjoy this issue, and bring you 
the best wishes of the staff of TCW for a very 
prosperous and joyous new year. 




HEH 



*Siu, R.G.H., The Man of Many 
Qualities: A Legacy of the I Ching. MIT 

Press, 1968, Pg. 5 and 8. 



CONFRONTING THE 
GODDESS— WITHIN AND 
WITHOUT 

by Ellen Harvell Dohner 

A few years back Time magazine announced 
the "Death of God" on its cover and a lot of 
controversy and reaction and good jokes followed. 
I believe there was much truth to what at first 
appeared to be an outrageous headline. It rang the 
death knell for God as we know Him— and I use 
the pronoun "Him" advisedly. Although the 
feminist theologians were not given as the direct 
cause of the deity's demise, they were certainly 
not prevalent among the mourners. 

A scholar of religion, Naomi Goldenburg, wrote 
a book called Changing of the Gods: 
Feminism and the End of Traditional 
Religions, 1979. She maintains that the 
feminist movement is engaged in the slow 
execution of Christ and Yahweh. Mighty powerful 
words. And the last I knew she had not been 
struck by a lightning bolt. 

She asserts, and I agree, that Judaism and 
Christianity involve accepting God as the ultimate 
in male authority figures. They depend on a 
masculine image for God best exemplified by 
Pope Paul's 1977 Vatican ban on women as or- 
dained Roman Catholic priests. Because Christ 
was a man and chose only male disciples, women 
can never serve as chief officials in a Roman 
Catholic hierarchy. Are they afraid that if women 
play at being priests, they will play at being God? 

The traditional religions have never before been 
challenged as they will be in the next decade. The 
images of Christ and God will be questioned be- 
cause of this overarching quality of maleness. The 
male white God in the sky influences the position 
of every person under that sky. 

Surely more all-inclusive gods will be born, 
ones that reflect and can be identified with by 
larger portions of the population. As our range of 
the possible expands, as we come to more and 
more liberation, as we become less and less 
provincial, so also must our pantheon expand. 

Something happens to people when they lose 
their fathers; something happens to people when 
they lose their image of a Big Daddy in the sky. 
In fact, two very important things are likely to 
happen: 1. They grow up. 2. They turn inward. 
Sometimes at the same time. Those of us who 
have lost an earthly father might want to consider 
that for a moment. What happened to you? 

And now supposing the people who are writing 
the obituary for a male god are right: we 
observers of human behavior can see the effects 



of this loss. When an individual is no longer 
obsessed with the father, she can develop a sense 
of internal authority to guide thought and feeling. 

This is a tough and scary passage, this passage 
away from a childhood dependency on a male 
authority figure. I would confess that for much of 
my life, I have put myself under the care and 
tutelage of father figures. And that's fine. At least 
now I am aware of what I am doing when I do it. 
Judy Chicago in her autobiography tells of the ef- 
fects of her father's early death and the loss of 
her husband almost simultaneously. It was after 
working through these two tragedies that she 
developed the unique artistic style that we see 
today. The freeing of herself from reliance on a 
male authority allowed her to explore her own 
womanhood extensively in art— to dive deeply 
within herself. 

And I would daresay the same thing happens in 
the father-son relationship. Here is one place 
where Freudian and feminist thought mesh. Freud 
called for nothing less than the complete and total 
overthrow of all exclusively partriarchal religions. 
Why? Because he claimed that "God the Father" 
is responsible for keeping huge portions of the 
human community stupid. 

I see this changing of god-images as so relevant 
to modern (liberal) religion because the death of 
fathers and fathergods allows exploration of one's 
own psyche: looking for the gods and goddesses 
within ourselves, our own inner psychic forces. 
The location of God in the mind may be the most 
effective place in this postoedipal culture, when 
we have gone beyond God the Father. 

Now— what happens when we still hunger after 
religion but have completely outgrown the need 
for an external god— escaped from our Oedipal 
prison? Dr. Jung asserted that "Religion can only 
be replaced by religion", another way of saying 
that surely new gods will be born. Carl Jung's 
work is especially important in a postoedipal age 
because he pioneered search for inward religious 
forces. He and his disciples have reawakened 
among the educated the importance of myth and 
symbol. 

I am using the word "myth" to describe the 
deepest sort of experience in human life. A myth 
is a story: it can be fact or fiction describing 
something with a special meaning or moral. 
Examples of familiar myths are Adam and Eve, 
Johnny Appleseed, George Washington and cherry 
tree, Abe Lincoln and the log cabin, the 
Mayflower pilgrims, and the Alamo: stories that 
help us to understand where we come from and 
the possibilities of human achievement. 

The gods are changing: we are finding the 
kingdom of heaven within ourselves and we are 
enriching our spiritual lives by drawing on the 



beliefs of other cultures. In my childhood the 
wisdom of the East was put down by my elders 
as "pagan," unworthy of attention. This is no 
longer true. The old concept of God as unmoved 
mover is replaced by God as moving target. As 
our economy and political life expands toward 
global proportions, so does our spiritual life. 

We have centuries of male domination in the 
field of religion to overcome — to have stirred up 
in our consciousness until it becomes an 
important part of our religious life and our values 
that we will act on and pass on to the next 
generation. The Mother Goddess, Mother Nature 
needs to become second nature to us — so I think 
we need to be reminded again and again that 
women hold up at least half the sky. That the 
female spirit (that's us, sisters) has just as much 
reason to be the object of devotion and the model 
for the spiritual life as the male spirit. 

Let us review for a moment the place of the 
female spirit in religious history, and then I will 
apply that idea to where we are today. After 
3,000 years of male dominance in history, it is 
only recently occurring to men and women that 
there might have been a time when men were not 
the rulers or the arbiters of morality or the high 
priests. At best they were only equals. It seems 
almost impossible to believe, but now all 
scholarly research proves beyond dispute that 
men were at one time subordinate to women in 
the area of religion. A very important area, of 
course, because the Supreme Being was 
worshipped as a woman. This age lasted from at 
least 30,000 B.C. until about 2000 B.C. and 
some in places until as late as A.D. 500. 

Before the Biblical Age, now known as the Age 
of the Patriarchs, and stretching back into the 
dim recesses of time, the Great Mother ruled 
supreme and her priests were female. 

Because we are now finally beginning to 
acknowledge that history, the reality of God the 
Mother as well as God the Father is beginning to 
sink deep into the consciousness of a growing 
number of women and men. Religion will never be 
the same. The single parent God — the 
Patriarchy— is on its way out whether we like it 
or not. 

In the mind of early humankind it was only 
female power that could continually recreate life 
and death in the world, dark and light, spirit and 
flesh. The religion of the Goddess we are now 
rediscovering was rich in symbols, signs, rites and 
rituals that focused the minds of men and women 
on her boundless mysteries. The Goddess was 
the creator, the lawgiver, the judge, the wise 
counselor, the bounty of Mother Earth/Nature, 
the dark womb to which humankind returned, the 
Queen of Heaven. 



And within Her embrace all apparent opposites, 
including life and death, were to he seen only us 
part of a single unified process of creation, rest. 
and recreation. 

Now what happened to this tremendous 
influence of the Goddess and the importance of 
women as religious leaders? How did they lose 
power to the steadily encroaching patriarchy? In 
the days of the Goddess, around 8000 B.C., the 
fundamentals of civilization evolved: agriculture 
and cattle breeding, writing, mathematics and 
architecture. After it was discovered that males 
had something to do with producing children 
(around 3000 B.C.) to the mythology of the 
Goddess was added the Sacred Son and Consort. 
He, too, had many names in many places— but 
still this young male god remained secondary to 
the Mother until tribes of warrior nomads, 
herders of sheep, cattle and goats began invading 
the predominately agricultural Mediteranean world 
sometime around 3500 B.C. Their religion was 
different from that of the Great Mother. The role 
of their women was also more secondary. 

A profound shift in the whole structure of 
human thought and feeling came into being. 
Women were no longer honored for the creation 
of life; they were merely the carriers of men's 
seeds. Here was a critical turning point in human 
history. The conscious, rational and divisive side 
of the human psyche identified today with 
"masculine" thinking began to overwhelm the 
deeper levels of the intuitive, nonrational, 
relationship side, identified as "feminine." 

From then on patriarchy held supreme and the 
consequences for women have been very great . 
The Great Silence around women's prominence in 
religion was finally broken in the 1800s when 
Victorian scholars, much to their shock, began 
unraveling the secrets of the pre-classical ancients 
which included many figures of the 
Goddess — usually naked and pregnant. 

And now a century later, scholarship about the 
Goddess proliferates from both feminist and 
nonfeminist sources. Not only scholarship but a 
whole new theology (thealogy) which encourages 
us to a worship of the Goddess. 

Carol Christ tells us there are three vital 
meanings attached to the symbol "Goddess:" 

1. The Goddess as divine female, invoked in 
prayer and ritual much like the Christian or 
Judaic Father God 

2. The Mother Earth Goddess as symbol o( 
the life, death and rebirth of energy in 
nature and culture, in personal and commu- 
nal life 

3. The Goddess as affirmation of the 
legitimacy and beauty of female power. 



The symbol of the Goddess refleets the sacred 
jiower within women and men who are aware that 
we arc male and female in our psyches, just as we 
all have male and female hormones in our bodies. 

But there are drawbacks to the wordsymbol 
"goddess." Yes, there have been many goddesses 
in human history, of primal importance; yes, I 
agree with Carol Christ's three reasons for 
worshipping the goddess. But god is spirit and 
therefore sexless: a name for the role of the 
Being /Becoming who creates the universe and 
lives within us all. Whenever a feminine ending is 
tacked onto this allinclusive word the role ' 
becomes minimized —as in poet/poetess, 
actor /actress, sculptor/ sculptress (and some 
people even ask me if I am a "ministress"). Is not 
putting an -ess on god inevitably trivializing? 

There is also the danger that people will think 
that those who worship the goddess believe god 
is female. Period. (As the joke goes: "Trust in 
God — she will provide.") That the male has been 
replaced by the female. Thus we return to the 
problem of sexual exclusivity. 

God transcends human sexual limitations, and 
given the limitations of our English language (we 
have no suitable neuter form to refer to god as 
the Bible does in its original language) it is awk- 
ward to refer to god as "It." The only solution 
each time is to use the word "God" or to 
alternate "he" and "she" or to use the term "God 
the Creator: instead of "God the Father," or to 
use "God the Parent" or "God — Mother and 
Father or Creative Spirit." 

To listen to the possibility of the Goddess, the 
female side of Ultimate Reality is to see a god 
that is imminent rather than transcendent: a god- 
spirit that is right here, right now. Patriarchal 
Judeo-Christian tradition has tended to 
overemphasize transcendence in its repressing of 
female god images in scripture, holding women in 
secondary roles. 

But gods are changing, as our society changes, 
whether we like it or not . Women are now 
encouraged to get out from under the protecting 
father or the husband (and, of course, how can 
we be truly "equal" with a protector?). I think the 
goddess worshippers are also teaching us that we 
must provide our own authority, we must learn to 
trust ourselves. 

The new or renewed consciousness of the 
female principle in religion has many lessons for 
us: reverence for the body and spiritual quality of 
the sexual act; ecological and human mutuality as 
opposed to one-way exploitation of nature; and 
child-rearing techniques that do not over- 
emphasize sex differences. 

We are living in exciting times. The changing of 



the gods and goddesses is a changing of the 
myths, or morals, or expectations of males and 
females. We still have a lot to learn about images 
in our culture, in our bibles, in our own psyches; 
images that determine our reality or our Ultimate 
Reality: Creative Spirit. 

But we do know for sure that we live in a time 
of pluralism when the only humane, the only 
religious way to be, regardless of our beliefs, is to 
respect one another. 

And praise Gods and Goddesses we are on a 
new Exodus — an exodus into pluralism and 
liberation at last. 



Reverend Dohner is the minister of the Unitarian- 
Universalist Community Church of Park Forest. She is a 
member of our advisory council. She was co-guest editor of 
our Women in Religion issue, Vol. 1., No. 3, Winter 1978. 



TWO FACES OF APHRODITE 



neighboring leaves 
ride this wind 
each grazing each 
until we coalesce 
in our mouth's womb 
to explore ridges 
the liquid flesh 



our being one expands 

do not break it, do not break it 

a wind still blows in the sierra after 

this storm 

a dawn spreads through our warm valley 

felt as a mother feels the child within 

her 

let us stop after each step to feel 

these waves 

to sense each drop roll off our body 

let us come slowly out of these waters 

Paul Friedrich 





THE ONE THAT YOU LOVE 

the one that you love 

is everywhere 
one eye weeps and the other 

is smiling 
when you follow her down 

the street 
you heal a wound in the day 
she leads you where she leads you 
she causes you to lie down 

and to rise 
she rises and lies within you 
in this world and beyond 
she opens the way 

Deborah Friedrich 



VULVAS, BREASTS AND 
BUTTOCKS OF THE GODDESS 
CREATRESS: Commentary on 
the Origins of Art 

Marija Gimbutas 

Excerpted from The Shape of the Past: Studies in 
Honor of Franklin D. Murphy Edited by Giorgio 
Buccellati and Charles Speroni. 

Did manual love play — the touching of vulvas, 
buttocks, and breasts— stimulate art creations 
some 30,000 years ago? That is the hypothesis 
posed by John Onians in the article "The Origins 
of Art" (published jointly with Desmond Collins) 
in Art History, Journal of the Association of Art 
Historians, I, 1 (1978), 1-25. 

Considering the Aurignacian art of 
c. 32,000-26,000 B.C., Mr. Onians wonders why 
there are so many representations of vulvas, 
female figurines with large buttocks or breasts, 
and game animals. "There is no later culture, with 
one or two very isolated exceptions, which 
accords such prominence to the vulva. Nor is 
there a later culture which gives such prominence 
to representations of the entire female body in all 
its full and naked roundness" (p. 11). According 
to him, the Aurignacian art does not lend itself to 
ethnological comparisons. It does not invite 
comparison with totemism, shamanism, 
sympathetic magic, or initiation rites. If so, how 
are we to explain this early art? The conclusion is 
that the only help is the material itself, which 
exhibits the following: "The one activity to which 
the vulva is completely central is that of love- 
making" (p. 12). The Venus of Willendorf also 
suggests the association with love-making: "For 
those areas of her body which are shown in all 
their rounded perfection are precisely those which 
would be most important in the preliminary 
phases of love-making, that is, the belly, 
buttocks, thighs, breasts and shoulders, while the 
lower legs, lower arms, feet and hands are 
withered to nothing. There is no real parallel for 
this enormous imbalance of attention in any later 
art. Equally without parallel is the total neglect of 
the face . . . This could once again relate to the 
restriction of interest during love-making, or more 
specifically the restriction to manual love play. 
This explains why the woman is so important in 
art" (p. 13). 

This new hypothesis 1 on the origins of art is 
attractive and easily apprehended by readers 
(especially male) of the twentieth century A.D. 
But how are we to know that it was a human 
male who created art, and how sure are we that 
vulvas and venuses with large breasts and 
buttocks are portrayals of what a man 



experienced in touching or desiring to touch? Why 
not symbolic or philosophical concepts? Among 
other questions are the following: Is it true that 
the prominence of vulvas and the naked 
roundness of female body do not continue in the 
later cultures? Also, what of the anonymity of the 
face and the schematization of the body? Is it 
true that water and plant motifs (as the author 
asserts) never took the same place in early art 
because it was the responsibility of women? 




In my opinion, early art was thoroughly 
symbolic, inspired by the urge to create another 
world, the mythic world. We do not know when 
man became the creator of myth, but certainly not 
as late as 30,000 years ago. The manifestation or 
belief in an afterlife and magical ceremonies is 
traced back to Neanderthal man some 50,000 
years ago. 8 Ethnological evidence has shown that 
art is never dissociated from religious and social 
life. The same is true throughout prehistoric 
times and most of the historic era. Why then in 
the Aurignacian epoch did the meaning of art have 
to be divorced from society, its creeds, its 
values? Mme. Marthe Chollot-Varagnac, who 
recently published a corpus of thousands of 
incised upper palaeolithic bone and stone objects 
from the collection of the Musee des Antiquite's 
Nationales, Saint Germain-en-Laye 3 came to the 
conclusion that all art, not only more or less 
naturalistic representations but also geometric 
motifs, is the outcome of mythical 
conceptualizations. "La conception magique" she 
says, was at the base of the psychic evolution of 
the hominids. 



A number of signs and symbols and their 
associations with certain images of deities related 
to the concepts of cosmogony and cosmogeny are 
extremely longlived: beginning in the upper 
palaeolithic period, they survived the economic 
changes in the onset of the agricultural era and 
continued further, some even to this day. The 
neolithic-copper age-bronze age symbolism of 
Europe and the Near East cannot therefore be 
disregarded as a source from which we can pro- 
ject backward. Its richness and extension into 
early historical times and to present-day peasant 
folklore in many cases provides a key to the sym- 
bolic meaning. 

The portrayals of vulvas, breasts, and buttocks 
through the ages, from the Upper Palaeolithic and 
through the Neolithic, Copper Age, Bronze Age, 
to modern times, some of which are illustrated in 
this essay, shed another light on the motivation 
of their creation than the one proposed by Mr. 
Onians. 

VULVA 

The Aurignacian vulvas — semi-circles or bell- 
shaped with a dash or a dot at the opening— are 
abstract and schematic except for a few more 
naturalistic representations that make us believe 
that they are vulvas indeed. When we move into 
the later epochs, it becomes clear that the em- 
phasized vulvas are not just "female signs" (the 
term used by Leroi Gourhan 4 ), but are symbolic 
vulvas or wombs of the Goddess who is frequent- 
ly portrayed as a human female and waterbird 
hvbrid. 








The symbol of the vulva alternates with the 
seed/sprout/bud symbolism in pictorial art of 
east central European Copper Age (particularly 
well expressed in painting on Cucuteni B-Late 
Tripolye vases of the early fourth millennium 
B.C.) and of Minoan Bronze Age. The association 
of vulva and plant is as early as the upper 
palaeolithic art as was already demonstrated by 
Marshack in 1972. He rightly considered the 
vulva as a "non-sexual," that is, nonerotic, 
symbol, representing stories of processes that 
include birth and death, menstruation, and time- 
factored cycles relating to nature. 8 

The symbolism of the vulva traceable through 
the many milennia of prehistory and history 
suggests a different "activity to which the vulva is 
central (that is, other than love-making as 
assumed by Onians), namely: birth-giving, rebirth, 
resurrection, plant regeneration. 




Illustration 16 



THE BREASTS 



The image of a bird-masked female with large 
hanging breasts emerged in the upper palaeolithic 
period: see the illustrated bird-beaked "Venuses" 
from the cave of Pech-Merle, Lot province of 
southern France of the Aurignacian culture. These 
fingerpainted portrayals of human figures have 
artfully delineated female bodies with pendulous 
breasts, wings instead of arms, and the figure on 
the right has a bird head (mask). These paintings 
of human-bird hybrids were associated in the cave 
with serpentine meanders, parallel lines, series of 
dots, arcs, and handprints. Bird-headed images 
with human breasts continue into the Neolithic 
and later periods. 

The metaphor of the Goddess as the nourishing 
vessel is as early as pottery. Anthropomorphic 
vases recur throughout all phases of the 

9 



Neolithic, Chalcolithic and Bronze Age. I am 
concerned here with vases with breasts and 
marked or associated with chevrons, zigzags, 
parallel lines, or streams — representations of 
vessels as the image of the Goddess. 




Illustration 18 



The breasts of the Goddess continued to be 
portrayed in the form of amuletic bronze 
ornaments even in the Iron Age of northwestern 
Europe (illus. 22). 




THE BUTTOCKS 

Symbolism linking the double egg, buttocks, 
and the magic of duality can be traced to the 
upper palaeolithic Gravettian "venuses" with 
buttocks sculpted without anatomical reality. A 
number of them have buttocks and breasts 
shaped like double eggs. One of the best 
examples of this symbolism comes from Lespugue 
in France. The female abstractions engraved on 
stone slabs from the Magdalenian epoch in 
Dordogne, southern France, are representations 
of buttocks with totally neglected other parts of 
the body. They are either struck through by an 
engraved line or by two lines, or contain a circle, 
that is, an egg, within the buttocks. 

A special series of upper palaeolithic mammoth 
ivory and coal figurines depict nothing else but 
female buttocks: the upper and lower parts of the 
body are reduced to cones. Abstracted female 
forms whose primary features are the large egg- 
shaped buttocks continue in the European 
Neolithic, Chalcolithic, and Copper Age. Several 
examples are illustrated here from the Sesklo 
culture in Greece of the mid-seventh millennium 
B.C. and the Starcevo-Koros culture in south- 
eastern Hungary of the mid-sixth millennium B.C. 
The symbolic relationship between the upper 
palaeolithic and later figurines is obvious. There 
are also large anthropomorphi-cornithomorphic 
vases which have egg-or double egg-shaped female 
buttocks (illus. 27). The images clearly combine 
the human female and waterbird features. 




lustration 22 



Illustration 27 

Buttocks in prehistoric art were not buttocks 
of twentieth-century art. They were sacred parts 
of the body of the Creative Goddess. This 
symbolism is inseparable from that of other 
symbols associated with the idea of beginning of 
life or germination, such as eggs, seeds, fruits. 
We are confronted with a philosophical thought 
about the beginning of life and the constant need 
of its promotion. The buttocks in upper 



10 



palaeolithic, neolithic, and later portrayals were 
even farther away from the idea of the association 
with lovemaking than was the symbolism of the 
vulva and the breasts. 

CONCLUSION 

Our European prehistoric forefathers were more 
philosophical than we seem to think. They would 
certainly be stunned to hear the new hypothesis 
on the origin of their art (no philosophy, no 
questions of the beginning of life, birth and death, 
and resurrection). To us, naturally, the vulva, 
breasts, and buttocks are sex symbols — we 
cannot escape the ideals of the century we live 
in — to them they apparently were symbols of 
birth, life-giving, fertility, and regeneration. The 
rounded parts of the female body were the sacred 
and magic parts of the Creative Goddess, the 
Giver-of-All. 



Illus. 23. The "Venus" of Lespugue, Haute- 
Garonne, Pyrenees, France, carved in mammoth 
ivory, and dated to c. 21,000 B.C. (Upper 
Perigordian). Her breasts and buttocks are 
shaped like double eggs, with the rest of the body 
tapering gradually. (Found in a damaged 
condition.) H: 14.7 cm. 

Illus. 1.1, Upper palaeolithic ivory waterbird 
and, 2, human female hybrid figurines, with 
prominent posterior, long neck, and an enormous 
human vulva engraved on the front. The figurines 
are symbolically decorated with chevrons, 
meanders, and parallel lines. Mezin on the R. 
Desna, Ukraine, c. 14,000-12,000 B.C. (no C-14 
dates available; this date is based on the 
analogies with Kostenki site on the R. Don). 
Three views of each: a, front; b, back; c. profile. 
Scale 1:1. 

Illus. 16. Anthropomorphic urns with breasts 
from Fonyo d, Baden culture, Hungary, c. 3,000 
B.C. H: (left) approx. 31.5 cm; (right) approx. 36 
cm. 

Illus. 18. Nippled ewer from Thera (Santorini) 
exhibits a beaked face and necklaces, sixteenth 
century B.C. Thera Exhibition, National Museum 
of Athens. 

fllus. 22. The Goddess in the form of amulctic 
breasts and schematized human body from the 
Iron Age in Denmark. She is marked with 
chevrons and parallel lines as in earlier prehistoric 
periods. 

Illus. 27. Ornithomorphic vase with female 
buttocks from the Starcevo-Koros culture, 
southeastern Hungary, c. 5,400-5,300 B.C. 
Gorzsa at. Hodmezovasarhely. Front and back 
\iews. H: 14.2 cm. 



N( >TFS 

'Actually the hypothesis Is not entirely new Karcl Ab- 
Bolon, who excavated ut Dolnl Vestonice In Moravia In 1987 

and found the figurine illustrated in this article (illus. 10) 
wrote: "Sex and hunger were the two motives which influenc- 
ed the entire mental life of the mammoth hunters and their 
productive art..." ("Modernist Moravian Art 30,000 Years 
Ago." Illustrated London .News [March 35, 1989], p 
4f)9) Ten years later, he called the Upper palaeolithic figurine 
art "a dilluvial plastic pornography" ("The Dilluvial An- 
thropomorphic Statuettes and Drawings, Especially the So- 
called Venus Statuettes, Discovered in Moravia. Artlhus 
Asiae, XII, 3[1949], 208). 

a A.C. Blanc, "Some Evidence for the Ideologies of Early 
Man," Soeial Life of Early Man (New York. 1961); Alex- 
ander Marshack, The Roots of Civilization (New York. 
1972); P.I. Boriskovskii, "Problems of the Emergence of 

Human Society and the Archelogical Discoveries of the Past 
Decade," Soviet Anthropology and Archclogv, XIII. 8 
(19741975). 25. 

3 Marthe Chollot-Yaragnac, Les ( )rigincs du Graphisme 
Symbolique. Essai d' analyse des ccritures primitives en 
prehistoire (Paris, 1980).' 

*A. Leroi Gourhan, Treasures of Prehistoric Art (New 
York, 1967). 



SOURCES OF ILLUSTRATK INS 

Illus. 1. Reproduced from Eugene A. Golomshtok. "The 
Old Stone Age in European Russia," Transactions of the 
American Philosophical Society, Vol. XXIX, Part II 
(Philadelphia 1938), p. 352, Fig. 60*. 

Illus. 16. Nandor Kalicz, Die Peceler (Badener) Kultur 
und Anatolien (Budapest: Akad, Kiado. 1963), Plate VII. 

Illus. 18. Thera exhibition. National Museum. Athens. 

Illus. 22. J. Glob, The Bog People: Iron Age Man 
Preserved (Ithaca: Cornell University Press, 1969). 

Illus. 23. Alexander Marshack. Ice Age Art. An exhibi- 
tion catalog, California Academy of Sciences (1979). 

Illus. 27. Courtesy of Hodmesovasarhcly Museum. 
Hungary. Author's photo. Published in Idolc. 
prahistorische Kcramiken aus Ingarn (Vienna: 

Naturhistorishcs Museum, 1972). 

Illus. 37. A. Nitu, St, Cucos and D. Monah, Ghelaiesti 
(Piatra Neamt) I. Sapaturile din 1969 in Asezarca Cucute- 
niana "Nedeia," Mcmoria Antiquitatis II. p. 11) 



Marija Gimbutas is at the Institute of Archeology. 
University of California, Los Angeles and author of The Gods 
and Goddesses of Old Europe. 700-3500 B.C. 



11 



THE GODDESS IS ALIVE AND 
MAGIC IS AFOOT 

by Ginny Brubaker 

Drums set the rhythm for the chanting voices. 
"Isis, Astarte, Diana, Hecate, Demeter, Kali, 
Innanna." Over and over, the names of the 
Goddess ring out in the night air. Hundreds of 
Goddess worshipers gather and join in the 
chanting. Finally torches are lit and the 
torchbearers lead the way past the tents, through 
the woods, and into the glade. The procession 
straggles behind, chanting and whispering. The 
ritual finery they wear reflects the diversity of this 
group. Some are clad only in ritual jewelry and 
colored cords around their waists. Others wear 
long hooded robes of green or brown or black or 
yellow. Many of the women wear long colorful 
skirts and T-shirts or Indian cotton blouses. 
Many of both sexes wear jeans and T-shirts with 
messages like "The Goddess is Alive and Magic is 
Afoot" or pictures of the planet Earth with "Love 
Your Mother." There is a man with a headdress of 
antlers, ferns, and flowers. Wildflowers are 
twined into the hair of many. Everyone, it seems, 
wears a pentagram— the five pointed star— on a 
necklace or bracelet or T-shirt. 

This is a Pan-Pagan Festival. Hundreds of 
witches and pagans from across the country have 
gathered together. This Festival also includes the 
Grand Council (annual meeting) of the Covenant 
of the Goddess (COG), a national confederation 
of covens and solitary witches, so many of those 
present are members of COG. 

As the pagans reach the glade they pass under 
an archway of saplings decorated with flowers 
and ribbons. This gateway serves as a separation 
and a reminder that beyond is sacred space: 

A place that is not a place, 
A time that is not a time, 
Between the worlds — and beyond. 
The glade slopes downward from the entrance. A 
pair of torches are at the outer edges in each of 
the cardinal directions. A large bonfire is laid but 
not lit in the center of the circle. From the 
bonfire, a pole rises. Atop the pole is a pentagram 
surrounded by a circle— later the fire will climb 
the pole and create an image in flame. 

After all have entered the glade, a robed 
priestess steps into the center of the circle and 
raises her arms for attention. At her signal, the 
drummers begin anew and lead the singing as the 
witches circle clockwise to seal off their magical 
space from the rest of the world. 

A man and a woman holding a torch aloft 
between them step into the circle at its east edge 
and call into the night. "Mighty Ones of the East, 




we invoke and invite you to attend our rites and 
guard our circle!" Another couple emerges from 
the north, a third from the west and a fourth from 
the south. Each invokes the spirits of that 
quarter, then all carry their torches into the very 
center of the circle and light the bonfire. The fire 
lights with a whoosh, burning hot enough to 
cause those within 25 feet to press backwards 
toward the outer edges of the circle. In the heat, 
the pole supporting the pentagram begins to bend. 

Three priestesses invoke the Goddess; the 
youngest invokes the Goddess as Nymph, the 
second invokes Her as Mother, while the third 
invokes Her as the Wise Old One. Several priests 
invoke the God of Nature, the God of the Sun. 
Silver goblets full of small picture agates are held 
aloft while the group begins circling again, 
chanting, dancing, drumming, raising the "cone of 
power" to charge up the agates. As the ritual 
ends, each will select a stone to use as a talisman 
and a dreamstone; they will seek inspiration and 
direction from the images they find in the stone. 

Who are those pagans, these witches? They are 
women and men who are reclaiming the power 
that comes from the Goddess, the power of 
recognizing the female in deity. Those who 
recognize God/ Goddess as both male and female 
can see divinity everywhere. Polytheism opens our 
eyes to new ways of seeing, to an appreciation of 
diversity and difference. 

Thus it is not surprising that this movement is 
diverse. Pagans most often celebrate in small 
groups or alone, and each group or individual is 



12 



likely to create or adapt rituals to best suit 
individual needs. Some worship many Goddesses. 
Some perform their rituals with great solemnity, 
others with much laughter. All are linked in their 
love for the Earth and . . . 

We're of the old religion, sired of time, and 
born of our beloved Earth Mother. For too 
long the people have trodden a stony path 
that goes only onward beneath a sky that 
goes only upward ... Who knows now the 
ancient tongue of the Goddess? The magic 
of the land of Lirien and the old pagan gods 
have withered in the dragon's breath; and 
the old ways of magic have slipped into the 
well of the past, and only the rocks now 
remember what the moon told us long ago; 
and what we learned from the trees, and the 
voices of the grasses and the scents of the 
flowers. We're pagans and we worship the 
pagan gods, and among the people there are 
those yet who speak with the moon. 

Tony Kelly, "Pagan Musings" 

There are many ways that we celebrate our 
knowledge of the Goddess: in music, dance, 
meditation, libation, visualization. We celebrate 
with candles and wine and incense, using all of 
our senses to focus upon the magic essence of 
the Goddess: 





THE CHARGE 

Listen to the words of the Great 
Mother, who of old was called 
among men: 

Artemis, Astarte, Athena, Diane, 
Cerridwen, Isis, Bride, and by 
many other names. 
At my altars the youth of most dis- 
tant ages gave love and made due 
sacrifice. 

To those who have ears to hear 
To those who have eyes to see 
To those who have hearts to know 
I send my call 
I am the Eternal Goddess. 
I am the beauty of the green 
earth, and the white moon 
among the stars, and the 
mystery of the waters, and the 
desire in the hearts of all. 
Call unto thy soul; 
Arise, and come unto me; 
For I am the Soul of Nature, 
who gives life to the universe. 
From me all things proceed, 
and unto me all things must 
return; 

And before my face, beloved of 
gods and people, let your inner- 
most divine self be enfolded in 
the rapture of the infinite. 
Let my worship be within the 
heart that rejoices; 
For behold, all acts of love 
and pleasure are my rituals. 
And therefore let there be 
beauty and strength, power 
and compassion, honor and 
humility, mirth and reverence 
within you. 

And you who think to seek for 
me, know that your seeking and 
yearning will avail you not — 
unless you know the mystery; 
That if that which you seek you 
find not within you, you will 
never find it without you. 
For behold, I have been with 
you from the beginning; 
And I am that which is attained 
at the end of desire. 



18 




SELF-BLESSING: 



NEW MOON RITUAL 

Open the great circle, calling upon the 
blessings of the four great elements. 

Raise your arms to the east and say: 

Great being of the dark night, 

Though I cannot see you I know of 

your presence 

By the power I feel within. 

I ask you and your consort to enter 

this circle, 
And inspire my innermost 

sanctuary 
With your presence. 

Purify and bless the salt, water, fire, 
incense and oil. Dedicate the elements 
to the four great beings of the quarters. 
Combine the elements. 



Touch the eyes, saying: 

Blessed be my eyes that they may see 
the light. 

Touch the mouth, saying: 

Blessed be my mouth that I may speak 
the words of truth. 

Touch the hands, saying: 

Blessed be my hands, that they may 
teach harmony, unity, and coopera- 
tion; that they may heal and always 
act in the unity of brotherhood. 

Touch the sexual organs and say: 

Blessed be my groin that my seed be 
the seed of happiness. 

Touch your feet, saying: 

Blessed be my feet, that they may 
always lead me upon the path of 
right and reverence. 

Touch your solar plexus, saying: 
Blessed be my heart that the celes- 
tial love-light always shine and il- 
lume my life and lives of all whom 
I meet. 

Meditate briefly on what has been said. 





SELF-DEDICATION: 

Raise your hands to the east and say: 

I dedicate myself to that which I 
have willed from this time until the 
moon is again new. I pledge to give 
myself completely to this idea, 
knowing that loving, self-forgetting 
service is the shortest and surest 
path to the Unmanifest. 

Hold your hands over the candle and say: 

I dedicate myself to the path of 
light. May I always walk in the 
light, live, move and have my being, 
knowing that which I seek I shall 
attain. 

Close circle. 

Temple of the Pagan Way, 
Chicago, Illinois 



14 



A BIBLIOGRAPHY ON TODAY'S 
GODDESS WORSHIP 

Drawing Down the Moon by Margot Adler, 

The Viking Press, New York, 1979. 

An incredible overview of the diverse people 
and groups who worship the Goddess in 
America. 

The Holy Book of Women's Mysteries, Parts 
I & II by Z Budapest, Susan B. Anthony Coven 
No. 1, Los Angeles, 1979 and 1980. 

Z Budapest has taken old world traditions of 
folk magic and Goddess worship and has 
created a new generation of feminist witchcraft. 
These two volumes are full of ritual, invocation 
and Z's philosophy. 

Book of the Goddess edited by Ann 
Forfreedom and Julie Ann, Temple of the Goddess 
Within, Sacramento, 1980. 

Poems, articles and rituals. Lots of illustrations, 
some of them good. 

The Spiral Dance by Starhawk, Harper & Row, 
San Francisco, 1979. 

A wise book full of earthy ritual. 

Dreaming the Dark by Starhawk, Beacon 

Press, Boston, 1982. 

Starhawk explores the relationship between 
magic, sex and politics. (See review by Ellen 
Dohner this issue.) 

Book of Pagan Rituals, Samuel Weiser, Inc., 

New York, 1978. 

The basic pagan rituals in this book were 
written around 1970 by Ed Sitch and were 
distributed in mimeographed form for years 
before they were formally published in book 
form. In the early seventies, these were the 
best models available for seasonal rituals and 
fragments of them will be found in witches' 
rituals all over the country today. 



Ginny Brubaker of the Temple of the Pagan Way in 
Chicago, is past president of the National Covenant of 
the Goddess. 



15 



THE GODDESS IN THE NEW WORLD ALLIANCE 



INTRODUCTION 



by Carolyn Carmichael 

What does the word "network" immediately 
conjure up in the mind? The "media" of course. 
The eye on the TV, the ear to the radio, 
perhaps competing with the newspaper or 
magazine in hand. Dr. Bethe Hagens, professor 
of anthropology at GSU, is deeply interested in 
and hopeful about another kind of network 
which also produces floods of information but 
which is not aimed at a passive, receptive 
audience. These other networks, "of the second 
kind," are instead participating, existing to 
exchange ideas, using "processes which imply 
personal integrity and social equality— as if new 
communication techniques could synthesize the 
culture of a face-to-face community, across 
time and space, to create a distinctive politics 
of the future." Dr. Hagens believes that 
networks can be a tool for anthropologists to 
study the contemporary world, and that 
perhaps the confluence of information and ideas 
from many networks may effectively influence 
the future. 

In a paper written for Network News from 
which I am quoting briefly, Dr. Hagens 
discusses several existing networks. "Turning 
Point" (c/o Alison Pritchard, Spring Cottage, 9 
New Road, Ironbridge, Shropshire TF87UA, 
England) describes itself as "an international 
network of people where individual concensus 
ranges very widely: environment, sex equality, 
third world, peace and disarmament, 
community politics, appropriate technology" 
and more. " 'Turning Point' does not demand 
adherence to doctrines, manifestoes and 
resolutions. It enables us as volunteers to help 
and seek help from one another." There is a 
twice-a-year newsletter with complete contact 
information. 



A similar group is being coordinated in 
America by economist-futurist Robert 
Theobald. Called "Action Linkage" (Robert 
Theobald, Participation Publishers, Box 2240 
Wickenburg, Arizona 85358), its concerns are 
similar to those of "Turning Point" but oriented 
to the preparation of "strategies ready to 
operate within the past industrial Megatrends." 
A world-wide network called "Tranet" (c/o 
William N. Ellis, P.O. Box 567 Rangeley, 
Maine 04970) is "perhaps the only line of 
communication and contact available for 
individuals to reach other individuals working in 
people-oriented technology development 
projects around the world!" 

There appear to be multiple networks of a 
great variety of size, method and style of 
organization as well as range of motivation in 
joining them, from the practical action to the 
mystical. Editor Helen Hughes has said that 
TWC began as a network. In the article that 
follows, Dr. Hagens is wonderfully candid and 
entertaining in her description of the 
development of one network, the "New World 
Alliance." 






Planetary 
Grid System 



Intercultural Studies in Global Mapping & Communication 



16 



THE GODDESS IN THE NEW 
WORLD ALLIANCE 

by Bethc Hagens 

Possibly the greatest potential of what I like 
to think of as "networks of the second kind" 
(those which exist to exchange ideas, which 
will evolve a shared vision of the future, 
ultimately materializing in gentle patterns of 
adaptation and change) is also the greatest 
source of frustration and even despair for those 
who start on or join such networks: diversity. 

Initially, the problems of diversity are those 
of the individual (or very small core of 
individuals — usually no more than three, in my 
experience) who conceives the idea of the 
network in the first place. This is usually a 
person with keen imagination, great reserves of 
energy and determination, and a knowledge that 
certain people and groups he or she works with 
ought to be working together. The problem to 
be licked is the development of a description of 
the network that will be sufficiently intriguing 
to the various potential participants so that 
they will want to become involved. The 
visionary has usually already made the 
assumption that, once these people are made 
fully aware of each other's work and capacity 
for enhancing mutual goals, they will join arms 
and march down fairly predictable paths. He or 
she must simply have enough personal 
credibility and outright charm to lure them 
away from their separate work environments to 
see and then embark upon cooperative 
strategies. 

Sometimes this initial organizing effort works 
almost immediately. A network group forms (in 
the traditional sense of the definition we 
anthropologists use) and begins to act as an 
entity. At other times the goal of interaction is 
not achieved immediately and not under the 
banner of any overarching organized effort. And 
of course, there are times when nothing 
happens but the conclusion among participants 
that they have been duped by an egomaniacal 
organizer. But this really doesn't happen very 
often. 

Most times, I think, things happen— but not 
in the time or space imagined by the organizer. 
Unfortunately, the lag time here — which might 
better be thought of as a fertilization and 
germination period — often does (lag) in the time 
of the organizer. He or she is apt to feel not 
quite credible enough, or that a little more hard 
work would have done it, or that the 
participants really didn't give what they said 
they would, or that the Federal government has 




Planetary Grid 
System 

made all plans null. One can watch a pattern 
ranging from frustration to downright hatred 
develop. The organizer either hates himself, 
hates the real-life "perversion" of his original 
idea, or even begins to hold a negative attitude 
toward the groups which initially inspired him. 

In potentially powerful networks, initial 
participants have usually done what is referred 
to as "local networking." For example, this 
might involve anything from starting a regional 
food cooperative or learning exchange to 
running a successful campaign for a major 
political office. Through the same personal 
force which characterizes the mega-network 
organizer, these people are able to draw upon 
cultural values to do what they dream up. And 
for this reason, they are often very confident 
and competent people. They work very hard, 
believe in what they are doing to such a great 
degree that it may jeopardize their "personal 
life," are used to media attention, enjoy being 
in the spotlight, and usually succeed in the 
political arena that is important to them. 

The so-called "local networker" often believes 
that he or she has ENCOUNTERED 
DIVERSITY. And diversity can be tamed... 
locally. But most don't realize the cir- 
cumscribed nature of the diversity they have 
integrated. Therefore, when the megaorganizcr 
calls, the pitch falls on receptive ears If it is 
creative. The rewards seem plentiful: 
enhancement of personal power and status, 
greater media attention, and the chance to do 
something really big and significant. In fact, I 
would venture to say that this kind of 
opportunity strikes many good-hearted social 
activists as the equivalent of their chance to 
make a million. I'm not being cynical. Healthy 
self-interest is much preferable to me over 
apparently less ego-involved motives that can 
often be reduced to a desire to control other 
people. 

17 



As you can imagine, these people expect the 
success of the network as outlined by the 
organizer. When this doesn't occur, as planned, 
they too are likely to find themselves in a 
period of separation. This is exactly what 
happened in a network I was asked to join 
almost four years ago. It is called the New 
World Alliance. 

The mega-organizer of the Alliance was Mark 
Satin, a war resister who had left the United 
States for Canada in the mid-60s. About ten 
years later, he returned to this country and 
travelled literally thousands of miles by 
Greyhound bus to see what had happened to 
political life while he was away. He summarized 
his travels in a book called New Age Politics, 
a kind of personal philosophy of activist change 
within the context of love of country. In his 
introduction, Mark describes his time in 
Canada as "a lover's quarrel with my country. It 
was so fine on paper, and so awful in practice." 
He was clearly ready and eager to come back, 
and within two years had established himself as 
the journalist Charles Kuralt of the New Age. 
He visited hundreds of groups actually doing 
what he felt our country's Constitution 
intended: 

* taking positions neither right nor left 

* trying to find appropriate solutions to 
problems— not simply alternative methods 

* being able to reconcile people to each 
other's needs 

* being concerned with the specific ethics and 
political values that will permit everyone to 
survive, grow and flourish 

* being equally concerned with the personal 
and the planetary. 

I met Mark in 1979 just before the publication of 
his book. He was still traveling around by 
Greyhound, and I was jetting between 
Washington, D.C. and Chicago courtesy of Carter 
administration solar funds. At that time, I recall 
being on the telephone or in the air... and not 
much else. I had made several politically "wise" 
local network moves during the years from 
1974-1977, publishing a regional newsletter 
about appropriate technology and establishing 
communications among various people in 
education, community action, business, and 
government who had an interest in this field. 
When Carter was elected, women were needed. 
Appropriate technology hit Washington like a 
bombshell. It seemed as if every agency (e.g. 
Community Services Administration, Department 
of Energy, HUD, National Endowment for the 
Humanities, National Science Foundation) had a 
growth program in the field. In fact, once a month 



agency personnel and legislators actually had 
lunch and formed a group called (would you 
believe it?) FAT— Friends of Appropriate 
Technology. 

The Carter administration paid a lot of 
attention to public participation in government 
through the twelve regions into which the country 
is divided. As it happened, the midwest region to 
which we at Governors State directed our 
appropriate technology newsletter corresponded 
exactly to one of these Federal regions. When the 
time came for public participation on committees 
and grants, my name came up as if spit out of a 
computer. First I was a woman, second I was 
from the Midwest, third I had a Ph.D., and 
fourth, people had heard of me. (I didn't realize 
this at the time of course. Possibly the quality of 
our newsletter actually did have something to do 
with my incorporation into the bureaucracy, but 
certainly not as much as I had imagined.) 

I agreed to meet Mark at O'Hare airport in 
Chicago, for forty-five minutes, before a flight to 
somewhere. We had a nice exchange, and he gave 
me a compact summary of his vision of a political 
network. I liked being included in his planning, 
thought that of course I should be included, but 
could not imagine what I would actually be doing 
in it. Mark had with him a fifteen page 
questionnaire about New Age values, and he was 
circulating it among the people he had met on his 
bus rides. At the end of the questionnaire, you 
were supposed to fill out a description of yourself 
and your work. Mark eventually tabulated the 
returns and sent out the results and a 
condensation of self-descriptions to people who 
had returned forms. You were then supposed to 
vote for members of a political organization, from 
among those who had sent self-descriptions, who 
would work toward the values the questionnaire 
had elicited. (I took a questionnaire.) 

Sitting in my hotel room, I tried to fill it in. It 
was long, I didn't like some of the ways the 
questions were phrased, and I didn't send it in. 
Several months later, I got a call from Mark. The 
first meeting of the new network was about to 
happen. The votes were tallied, the "governing 
council" had been elected by some 400 New 
Agers, and they still needed . . .yes, a woman from 
the Midwest. 

I have never felt so much an anthropologist as 
when I accepted membership. I felt somewhat 
second-class since I believed everyone else had 
been elected (though I found out only last year 
that at least half hadn't), but I also felt somewhat 
free from the possibility of failure since I wasn't 
really "one of them." We had our first, mandatory 
("You must be there, or you can't be in— period.") 
meeting in a loft in the Soho district of New 



18 



n ° 61?, 




O EXPANSION • SUBOUCTION a STABILITY 



MERCATOR- BASED HEXAKIS ICOSAHEDRON PROJECTION 



York. There were forty of us. There really were 
some "Big People," though two of the Biggies 
couldn't come— but were allowed to stay in. 
There was vegetarian food, a physically asexual 
atmosphere, lots of preaching and dialogue about 
process. Some even went so far as to say that we 
were as important as those men who drafted the 
Declaration of Independence. This began on a 
Friday night . 

Simday afternoon, we had been facilitated one 
too many times and an explosion occurred. The 
men, who outnumbered the women about 4 to 1, 
began to leap to each other's emotional defense. 
The women ("the goddess force in our Alliance") 
began to retreat to the kitchen to prepare food, 
many of them on the verge of pounding on things. 
Apparently, goddesses were airheads. Personal 
tension and frustration rose. Mark Satin sat back 
in a corner, in almost a state of euphoria, 
watching his Alliance actually struggling through 
the birth canal. 



A Womens' Caucus somehow formed among the 
seven of us, and the men gave us the 
responsibility of nominating people for the 
governing committee of the governing council. 
Naturally, we nominated all the women and a few 
men. We came out of deliberation. The men didn't 
like it. So we just had an election. Then we had 
to decide about more committees, structures, 
memberships, etc., etc. I had to leave. 

Over the three and a half years since the 
organizing meeting, the network has not become 
an acting group. We meet now as a social group. 
Two years of biannual meetings trying to take 
care of organizational details and office 
management pretty much ended the possibility of 
the New World Alliance becoming a political 
organization in the traditional sense. Mark Satin 
feeling all of the disillusionment possible in a 
mega-organizer, left the Alliance. to try to reach 
out to the Middle Class, and is currently 
beginning an I. F. Stone-styled newsletter on new 
politics. Those of us on the Governing Council 
are over our hurt feelings, our frustration at 



"getting nothing accomplished," and our sense of 
failure in doing what we thought Mark said. In 
fact, we are just beginning, having just 
reincorporated. 

We learned a lot about diversity of style in our 
separation phase. We saw "the great" (including 
ourselves) exhibit pettiness and impatience, anger 
and fear. The great movers couldn't get anything 
off paper, the confirmed meateaters were happy 
and healthy. Mistrust flourished. Everyone 
believed in committee dictatorship, old-politics 
style. 

In the transition stage, which probably began 
last summer, we sat under a tree in a beautiful 
retreat in Virginia and agreed that this would 
probably be our last meeting. Almost everyone 
wanted to put their energy into their families and 
communities, and there was clear concensus that 
we were "not qualified" to be the political 
organization we had intended (members, 
caucuses, political action committees, etc.) This 
is the first time I have ever seen a visible wave of 
relief flood over a group! Almost immediately, we 
began to plan where we would have our next 
meeting and whom we would invite. The general 
idea was that we would talk about what we were 
doing in our own lives and let things take then- 
own course. 

What seems to have happened is that people 
are actually beginning to call upon each other's 
knowledge and accept it as reliable source 
material. This is tremendously liberating of the 
spirit. It is also very anthropological! For me, it 
has been a way to pursue anthropology in an 
academic context. My years of participation in the 
New World Alliance have culminated a cultural 
future research design project incorporating 
goedesics, satellite mapping, mythology, ancient 
history, geology, spiritualism, international 
communications, and "global brain" planning. It 
should take years to organize, and it should be 
really fun! My students love it. 

Oddly enough, the project is organized in a 
physical network — a geodesic model for the 
structure and evolution of the planet. Back in one 
of his early dialogs, Plato said that the earth 
could be thought of as a ball sewn together: 12 
pieces of skin each having five sides. This figure 
is known as a dodecahedron. Buckminster Fuller, 
ever in search of better ways to to communicate, 
designed a map of the earth that minimizes 
distortion and is now published by Rand McNally. 
It is composed of 20 equilateral triangles that can 
be folded and taped together to form a reasonably 
spherical globe replica —the icosahedron. I 
discovered in an issue of New Age Journal 
published at that time by one of my friends in the 
New World Alliance, that Russian scientists were 



20 



using a model of the earth based on these two 
geodesic forms. If you can imagine putting the 
dodecahedron inside the icosahedron so that all 
the points fall on a sphere (see illustration), you 
have what is known as a hexakis icosahedron. 

The hexakis icosahedron is an elegant 
structure, relatively easy to cut out of file-folder- 
weight paper, and tape together. As a model, a 
predictor if you will, of global phenomena, it is 
very curious and very revealing. If two of the 
points (there are 62 in all) are lined up at the 
poles, a number of coincidences occur. One line 
of points runs down the Mid- Atlantic ridge. 
Another runs down the Mid-Pacific. Lines of 
points run through major lines of oil fields and 
uranium deposits. Centers of ocean currents fall 
on points. Atmospheric highs and lows run on a 
predictable point grid. Many major earthquake 
fault lines run on lines connecting points. The 
triangles formed by the connection of points 
forms 60-30 spherical right triangles. The Great 
Pyramid, the Bermuda Triangle, Easter Island, 
Findhorn, and Machu Pichu all he on points. 

I certainly don't know how to interpret all of 
this coincidence, but I am learning a lot about my 
own processes of inquiry and evaluation by look- 
ing at data from within and without academia. 
The students like it. It is a manageable, non- 
political way to look at the whole world and to 
begin to see how it functions. It provides a 
framework for categorizing and evaluating infor- 
mation about almost everything. Since the hexakis 
icosahedron is so exotic, we realize all along that 
this is a "model" we are playing with and not 
reality— and so we are less critical of each other. 
And, we can build it. Because the geodesies in- 
volved are so simple, we can actually build a 
replica of our earth (and are) that will be about 
eight — ten feet in diameter. And it will all come 
apart and assemble in a flat case. This is where I 
really begin to get excited. I like working with my 
hands and doing art, and the prospect of papier- 
mache' and paint brings out the best kindergart- 
ner in me. The students like it better than a term 
paper. They work much harder. 

What has surprised me most is the fact that 
many of my colleagues from other disciplines have 
wanted to come to class and give their angle on 
the project. Cooperating with us are an industrial 
designer, an oceanographer, a philosopher, a 
landscape architect, a satellite communications 
analyst, a psychologist, a Russian studies ABD, 
and an astrologer. I have been so astonished by 
the simplicity of organization that can be achieved 
by using the model. The elegance of cultural and 
geological alignment, that occasionally the 
students will whistle the theme from "Twilight 
Zone" when I come into the room. My colleagues 
tell me that I should get over my astonishment 



and realize that there is order in the universe and 
that I can now use what I know from 
anthropology (about climate, settlement patterns, 
adaptation, language, and migration) to 
complement the evident physical data. It has been 
very good criticism. 



Bethe is a university professor of anthropology at 
Governors State University and a past coeditor of Creative 
Woman (Summer 1980). 











SPSS 


*j^ii 




mm 






^8 W^Wm 


WMirH 




^m^\v\\ 




-£fS3 




.^^ 



AT THE CLOISTERS 

I have forgot how I unfold and shutter 
as I go 

and then rethread. Here in medieval 
rooms of heavy doors, thick walls, 

there is a kind of splendid peace 
again of herb gardens 
and tapestries, unicorns 

and innocence, leaves again, 
the river, distance, 
crosses of old heavy wood. 

Thin branches 

sift through delicate windows. 

Their carved figures make shattered 
color on the walls. Sun catches 
the eye of that madonna. 

I keep remembering 

objects of a winter day, objects of 

several winters, objects alone. 
Nothing else but permanent objects 

exposed suddenly by need 
or ownership or both. 

Margot Treitel 



22 



OH SHE DANCES 



Her red hair is the tongue of a dragon 

and she dances, oh she dances. 

Sapphires glisten at her breasts and 

hips. 

Goldspun satins rainbow to the floor. 

She moves within them 

in perfect symmetry of motion, 

a woman who loves her own body 

and will not compromise its power. 

Her veil is a beautiful blue mist 

trailing her arms, blowing about her 

as she turns with the music, 

smiles as the music turns with her, 

her finger cymbals clashing. 

Slow and then fast and then slow again 

the goatskin drum summons 

all that is alive within her, 

all that leaps from every nerve, 

all that is strong 

and unafraid of being strong. 

Whirling, aglow in swirling color, 

she moves for us and for herself: 

she dances, oh she dances. 

Katharyn Machan Aal 




THE WOMAN WHO WEARS 
DEAD SNAKES ON HER ARMS 



Australian aborigine cave painting 
Unbalanya Hill, Arnhcmland 



knows magic charms. She hisses them. 

Her snakes have died a natural death 

and they are beautiful, dark diamonds 

and orange circles shining on their 

skin. 

This woman's arms are thin 

but strong as day, as sun 

beating noon on mesa sands. Her hands 

shape clay to tiny tongues 

that heal the body, lick clean the soul. 

Listen to her as she dances: 
her song is made of flat gray rocks, 
hollows holding small pale eggs 
that will hatch before night comes. 

Katharvn Machan Aal 



•J;< 



THE GODDESS IN THREE 
BODIES 

We are the three comers of the 

Triangle: 

Woman-symbol , 

Uplifted womb. 

Arms stretched, three hands clasped 

To meet in the middle: 

Vertex, 

Floating in the second house; 

Sign of the bull. 

We are the third card, 

Empress, 

Venus, the wishing star, 

To watch over us. 

Artist, dancer, poet, 

We entwine, give forth 

To the waking world. 

We are not a crowd: 

Three is a magic number. 

Our pull is as strong as the 

Moon 

We worship monthly, 

Hiding in our bellies. 

Mothers of the earth, 

We feed with our hands, lips, hearts, 

Scraping the ground we are grown from. 

Broad roots spread below, 

We build new foundations. 

Tobi Casselman 




"In the beginning, there was the Earth Goddess; 
the Sky-God married the Earth Goddess, and she 
wove the whole world as a big mantle and spread 
it over an oak. The world is actually a huge coat, 
which is spread over an enormous world tree, the 
oak; in it are the ocean and the earth and 
everything else. The sum of it is reality." 
from The Dinner Party Book, Judy Chicago 

FERTILE GODDESS 

Take warp and weft to weave the world, 

Spread it over the oak. 

Add shards found beneath remains 

Settled under all soil: 

Affirmation of pagans who worshipped 

The first female goddess. 

Images of bodies with round bellies and breasts 
Fondled from clay were carried as amulets, 
Not leered at with drooling tongues. 
This is the world-tree, not hollow 
But holding ocean and earth. 

The sum is birth and rebirth: 

Mother-God whose arms stretched 

To hug the globe, 

To feed seas and forests. 

Her seeds brimming over her edges, 

She gave to woman what woman can give, 

She gave without spilling, 

In silence, her hands clenched, 

Clasping the remaining threads of her voice. 



24 



Tobi Casselman 




Photographer. Cynthia MacAdams 



WAITING FOR CHRISTINE 

by Elizabeth A. Havey 

FIRST TRIMESTER 

It is winter and everything is barren white. I sit 
in the bathtub. My stomach swells, my breasts 
swell — they almost meet in undulations. I am 
pregnant. Once again. Often I seem surrounded 
by noise: Caroline, my other child, the house; but 
I am lost, set apart, looking out into the 
unknown, my mind and my swelling self uniquely 
united. I don't see the future, I carry it inside me. 

I come down the stairs before Caroline awakes. 
I am queasy, but hungry. I greedily peel and eat a 
navel orange. The juice is cold, the flesh of the 
fruit breaks eagerly as I chew. I feel better, I fix 
Caroline's breakfast. She calls me. I go slowly but 
happily up the stairs to find her lying in the crib, 
waiting for me. She is so pale and lovely in the 
early morning light. Could it be I am fortunate 
enough to be creating another as lovely as she? 

Today I asked three year old Caroline, "What 
would you like to be when you grow up?" She 



answered, her blue eyes looking off somewhere, 
"a princess." "I wanted to be one too," I told her, 
"but what did I grow up to be?" She told me, "A 
Mommy." I smile, thinking how much a mother I 
really am, right now; the mother of one who 
grows inside of me, the mother of another who is 
growing away, growing up. 

My cat. She knows I am pregnant, again. This 
time it is different for her too. When I was preg- 
nant with Caroline and working, I would come 
home, put my school things away and lie down for 
a nap. Chloe, my cat, always came, finding the 
pool of sunshine that lapped on our bed and curl- 
ing near my legs or my tummy. 

Now I find it is hard to take a nap. Caroline 
claims that she is too big for naps. Sometimes I 
coax her onto the bed full of sunshine. Carrie 
wants to read and fidget. I fall immediately to 
sleep, later called from my slumbers by Caroline 
who sometimes gives in, gets her blanket and 
curls down beside me sucking her thumb. Only 
then can Chloe find a restful, quiet place to sleep, 
and even then she often gives up and goes 
somewhere else, for Caroline has captured her 
sunshine. 



Today I am thirty-one. My closet door is shut 
and I toss my bathrobe into a chair as I get ready 
to lower my swelling self into bed. Inside the 
closet glow five new garments — smocks, dresses, 
maternity tops of mauve, grass green, vivid blue 
and orange. Lovely tokens for a birthday celebra- 
tion, lovely reminders of the days to come. 

How I smiled tonight when Caroline, in John's 
arms, brought in my birthday cake, candle lights 
glowing in the partially darkened room, Carrie's 
eyes wide, her voice lifting with John's to sing the 
well-known words. How precious the two of them 
offering a ritual, ceremonial moment for me, a 
moment to treasure. And they made cards, cut 
pieces of pale blue paper and pasted pictures of 
flowers on them, wrote words, created love for 
me. They are dear. We are all creating this 
together — our life. 

SECOND TRIMESTER 

It is a little like being between. I no longer feel 
queasy, sick; actually I feel very good. But the 
child inside of me is not big enough to make me 
aware of his or her movements so I am in be- 
tween, in between the one awareness and the 
other awareness; waiting, hopeful for the first 
movement. Now I walk more and more slowly, 
often resting a hand on my protruding tummy. I 
believe the child grows and is well, but I want to 
feel movement to be sure. 

My husband and I sit at a concert. It is Palm 
Sunday. A warm, greening day. Bach's Mass in B 
Minor fills the chapel. I sit quietly listening. But 
here is a response to my listening, a movement 
within me. I rest my hand gently on my abdomen. 
I wait. The response happens again; a slight tap- 
ping, a repeated expression of life, of being, of 
wakefulness. 

I tell my husband later that the baby liked the 
concert too. Now the child moves more frequently 
in identifiable movements. An arm, the shifting of 
the legs. It is fascinating to be talking to someone 
or reading an article or taking dinner plates out of 
the dishwasher and suddenly to be reminded, "I'm 
here within you, alive, eager, waiting..." 

Caroline talks about "that baby in your tummy." 
But already she reminds me that she is my 
"babykins" and only she. 

I play a game now; I did when I carried 
Caroline, too. In a room of people I count, always 
adding one, the child within me, the most impor- 
tant individual in the room. I am not "I" at pre- 
sent, I am "we" and I'm beginning to look more 
and more like a "we." 



On some days now the baby's movements are 
constant and I say aloud, "Child!" If he or she is 
active now, what will my life be like four months 
from now! 

THIRD TRIMESTER 

My days fall into a pattern, each one I silently 
cherish and control, getting ready for the baby's 
birth. Each day adds growth, weight to the child 
within. Each day adds time for preparation 
without. I keep saying to my husband, "We're get- 
ting there," as another day passes and the crib is 
up, the baby clothes unpacked, curtains hung. I 
need time, time to nourish the child, time to 
nourish my garden, my home, to fill my mind with 
more and more beautiful thoughts. I'm anxious, I 
can't wait and yet I want to wait, I don't want it 
all to end. This is our second child, probably our 
last. I don't want to give up the thrust of a grow- 
ing human within me, the sliding push of a foot, 
the rhythmic beat of the fetus's hiccups. And yet, 
I long to know the child, to hold it, nurse it, 
teach it more every day. I'm its mother, yes, and 
it knows me, but the knowledge to come is even 
sweeter. I long for it, too. 

Being pregnant is different now. I feel the child 
often, I know when he or she will sleep (during 
my active day) and when he or she will move 
around in the watery womb (in the evenings when 
I read, quietly disturbed by this other human). 
And being pregnant, I still maintain an inner 
dialogue with the child, with myself, planning, im- 
agining, hoping. We're together in a most unique 
way. I pat my tummy and quietly tell it "You're a 
good chunk of love." 

We're taking Lamaze. We're excited about the 
entire process. Birth is not something you long to 
"get over with;" it is an experience you crave, to 
see it, share it, be a part of it. John's excited. He 
saw Caroline being born and is eager to be my 
"partner" in the Lamaze experience. Sometimes I 
see a light, a glow on his face, a secret in his 
eyes— he is carrying on an inner dialogue too-he's 
getting ready too. We're looking in the same 
direction. 

And Caroline. She's excited. Digging out her old 
baby toys one day, she was ecstatic. "This is 
delightful!" she cried carrying newly washed baby 
toys into the nursery. And looking at the crib, its 
mattress raised, a new sheet in place, a blanket 
neatly folded she said, "It looks so comfy and 
cuddly." She's right — she's close enough to 
remember. I hug her tightly, our treasure. 

I love being pregnant. I love to take walks, to 
breathe fresh air, to be active. I feel good. And 
people smile at me. People open doors. People lift 
cartons of pop into my open car trunk. Maternity 



26 



clothes are exciting because they help suy, "Look 
at me: I'm carrying a child, I'm a tree bearing 
fruit-I'm mother earth — I'm fertile, I'm pregnant!" 

People also smile at me when I attempt to pick 
up a dropped box of cereal and discover that my 
center of balance is gone. They open doors for me 
when Caroline is crying for another piece of "pen- 
ny gum" and I have a cart full of groceries to deal 
with. Friends call, never forgetting to ask "How 
are you?" I answer, "Wonderful" as I sit down to 
talk, grateful to relieve my swollen feet, sore 
back, and hopeful that I'll be able to talk long 
enough before my bladder drives me away from 
the phone. 

But I love being pregnant! 

I planted a garden in June. I do every year. It is 
now the 9th of July. The daisies are open, big, 
thick golden ones with brown velvet centers; 
white lacy ones trimmed with pale yellow. Blood 
red geraniums compete with the dark purple of 
lythrum, the honey yellow of the calla lily. Yes, 
the garden is growing, thriving. And it makes me 
happy. But inside me the blue of veins, the blood 
red of the placenta, the pale white and pink of 
flesh prepares the loveliest bloom for its flower- 
ing: in one month we expect a child. 

What is this extra energy I feel? I can't nap 
anymore, though the heat of summer has subdued 
Caroline who dutifully sleeps, her Winnie the 
Pooh sneakers and bright red shorts worn out 
from a day in sunshine. Now I am eager to take 
walks or fuss about the house. The baby's room 
is ready. A golden carpet laid. A window framed 
in yellow and white. A yellow basket full of toys. 
Three people think and wait and wonder — Father, 
Mother, Sister. 

It's a cool July morning. I've slept well. I lie 
quietly on a bed of flowered sheets feeling a light 
breeze move over me, feeling the child move in- 
side me. Chloe the cat comes up nuzzling my 
chest, looking for something. She finds it, the 
bow on my nightgown which she loves to chew. I 
hug her and think of the growing child who will 
soon nuzzle me for milk, for nourishment, for life. 

I'm in my ninth month now. The baby is in 
position. The wondering and waiting become more 
intense. On a full July evening we sit on the green 
lawns of an outdoor concert. We eat fresh fruit 
and listen to Mendelsohn. Trees move above us. I 
search the open sky and the moving leaves for a 
clue to the child's coming. The child rests within 
me. "You will love the earth, the wind, the caress 
of life," I whisper. "We will eagerly help you ad- 
just to all of it." 

The day is a normal one — normal in its abnor- 
mality—for event ime I awaken to the sun, the 
birds or the sound of Caroline calling me I wonder 



if this will be the day, the birthday of the child. I 
look for clues, a word from John, or a physical 
sign, or even some omen. All the mornings are 
the same, lovely, sunny. 

On this morning Caroline and I sleep late, eat 
our breakfast, look out at the garden. It has rain- 
ed during the night and the lawn is a green jewel, 
the flowers brilliant. Carrie plays. I do some 
cleaning. We drive to the bank. We take a 
"resting." In the afternoon I go into the yard. She 
plays in her sandbox, a little world she has 
created all for herself, a world of teas and cakes 
under a heavily laden apple tree. 

I walk around the yard, pulling weeds from the 
lawn, smoothing out the green surface, making 
sure no foreign growth invades the picture. The 
child sleeps within me. 

My favorite moments of the day flow along; 
picking up "papa" at the train in the lengthening 
golden light, eating a simple summer meal, listen- 
ing to John and Caroline shriek with delight as 
they rough after dinner. 

John goes out to mow the lawn. Caroline heads 
for the sandbox with a friend. I straighten all the 
rooms, looking about me at the colors, textures 
of the life around us. It is good. I talk to my 
mother on the phone. I wander outside to sweep 
after the mowing, to gaze up at the moon which 
grows heavy and full. At eight John orders us into 
the air conditioned house — away from the humidi- 
ty and mosquitoes. Carrie takes a bath. I shower. 
John relaxes. I tuck Caroline in, we pray for 
everyone and the new baby. Her head nestles into 
her pillow, sweetness all asleep. 

Down in the kitchen I have a final chore to do 
before I sit and rest and read. A frond of the 
schefflera plant that we put out in the yard to en- 
joy the summer's humidity has broken off in last 
night's storm. I've brought it into the house. It is 
thin and glossy, a light yellow-green with new- 
leaves coming from the tips. I rummage in the 
cabinet and pull down an old glass with a silver 
rim, the only one left of a set. I place the frond in 
the glass and stand at the kitchen sink filling the 
glass with water, feeling the first twinge of pain in 
my back, a pain that moves from around my back 
to my abdomen, tightening and then springing 
away. I set the glass on the kitchen counter. I 
will tell John. A new plant begins to grow. A new- 
child, my child, our child — is preparing to be 
born. 




CREATIVE LIVES: 
LYNN THOMAS STRAUSS 

By Margaret Brady 

Lynn Strauss has come home. 

She might have a new home, a new job— but in 
many ways she's come home. 

Nearly a lifelong Chicago resident, the 39-year- 
old former managing editor of The Creative 
Woman is enjoying a new life in Oak Park with 
her husband of 12 years, David, and their 
children, Mariya, 10, Kandra, 7, and Taryn, 4. 

"I used to live in the city and be more in touch 
with what's happening there," Lynn said. "Living 
out in Park Forest for five years I really lost 
touch. So it's been fun. Sort of feels like coming 
home to me." 

"Home" is a house in Oak Park (complete with 
front porch and yard) and a new job just a short 
"L" ride away, at 570 West Randolph in Chicago. 
Since last March of this year Lynn has served as 
production assistant for a publication entitled 
The Neighborhood Works, a monthly 
information service produced by the Center for 
Neighborhood Technology. 

28 



The Center is a not-for-profit organization 
which assists community groups in conserving 
energy (by showing them how to cut heat and 
lighting costs), developing affordable housing, 
creating jobs and growing and distributing food. 

The Neighborhood Works is a five-year-old 
publication (600 subscribers nationwide) which 
serves as a clearinghouse for resources and 
programs aimed to help residents make their 
neighborhoods more livable. 

Lynn's varied job responsibilities include 
everything from writing occasional book reviews, 
and the upcoming "programs" and "resources" 
page, to maintaining the magazine's 
correspondence and mailing out 800 issues of the 
magazine each month to the media and a variety 
of other organizations. 

She also has a chance to tackle the magazine's 
marketing needs. "Marketing was always a 
challenge at The Creative Woman." Lynn 
recalled, "because I was never able to really take 
it on, with all I had to do as managing editor . . . 
and Helen could only devote a certain percentage 
of her time. Here we're really doing it, partly 
because we have two full-time staff persons, plus 
myself, working part-time (20 hours a week). 
Even though we're a monthly and we have more 
work, we can do some things we couldn't at The 
Creative Woman. 

Lynn currently had her hands full editing the 
November issue which focused on "Women in the 
Neighborhoods." 

Working for a publication like the The 
Neighborhood Works, with its focus on energy 
conservation, was quite a switch for Lynn. "It's a 
whole new area of knowledge . . . I'm still in the 
learning process myself. The first few months 
here I wondered if I was going to be able to get 
vested enough in the issues to make it meaningful 
for me," Lynn said. 

"I realize that the issues surrounding 
families — nurturing, feeding kids, educating them, 
going through the life stages of the family— seem 
more important to me than energy conservation," 
she said. 

But Lynn does, indeed, enjoy the work. 
"There's a lot of excitement in the city now," she 
said. "Mayor (Harold) Washington's victory has 
really sparked enthusiasm and energy for a lot of 
these projects. There's an idea that change is 
happening and things aren't as controlled, there's 
more of an opportunity for the grassroots 
population to influence the government." 

She may enjoy the work, but Lynn still misses 
the "caring spirit" of working with other women, 
which she enjoyed at The Creative Woman. 
Women like Helen Hughes, Joan Lewis (editorial 



consultant), Suzanne Oliver (art director). 

And she misses dealing with the issues that, 
she feels, "the women's movement is involved 
with, like human relationships, human quality of 
life at all levels." 

Dealing with such issues is one purpose of 
magazines like The Creative Woman, Lynn 
feels. "It gives women and men the chance to 
read and think about these really basic issues of 
human living in a way that's uplifting and 
supportive, instead of angry, critical or resentful. 
To do it in a way that there is always a sense of 
hope." Lynn credits this feeling of hopefulness to 
the magazine's editor, Helen Hughes. "Whatever 
particular problem The Creative Woman might 
focus on, there is always an overriding sense of 
hope. That's one of its greatest contributions, and 
what makes it really meaningful and different from 
other women's publications. Other publications 
might focus more on reporting events, providing 
resources— both of which The Creative 
Woman does— but I don't think they always have 
TCW's poetic aspect which offers hope and 
excitement about the future. That's because of 
Helen." 

Lynn added, "I miss Helen's support. She's 
really special in very many ways, but she was very 
special as a boss. She's just wonderful at giving 
positive feedback, pats on the back; she makes 
you feel good about yourself and what you're 
doing. She really lets you know on both 
ends — when you screw up and when you do a 
good job. Fortunately for me, I think I did a good 
job more often than not. 

She was also a friend, as well as a boss, so she 
was always interested in the other parts of my 
life, outside The Creative Woman. That meant 
a lot to me, to go to work and know there was 
somebody who cared whether the kids were sick 
or how I was feeling personally . . . There was an 
acknowledgement and respect for my abilities and 
skills and there was room for me to take on new 
things. 

Helen was always pushing me on . . . always 
extending my horizons." 



In the five years thai she worked for The 
Creative Woman, Lynn feels she played a role 
in the "feminization" of the magazine. "I don't 
think it was as 'feminist 'a publication when I 
started as it was when I left," Lynn said. "I don't 
claim credit, but I think I influenced that." 

While Lynn is proud of every issue she worked 
on, she has fond memories of the issue that 
focused on local women artists. "I was really ex- 
cited about those women," Lynn recalled, "What 
they were doing, the excitement they felt for their 
work and the sacrifices they were making for their 
art." 

She especially enjoyed the "peace" issue, "part- 
ly because it was meaningful for me to work on 
that. I learned a lot and got a sense of the unique 
and significant contributions that women have 
made toward the peace movement," Lynn said. 
She is also pleased with her final effort, the 
"changing men" issue, and the amount of feed- 
back it has produced. The two most difficult 
issues to pull together, Lynn said, were those 
dealing with psychology and the third world 
women. The latter, Lynn feels, was a "very tough" 
issue because "I didn't have enough knowledge or 
background on the subject." 

Through her involvement with The Creative 
Woman, Lynn feels she learned how T to set goals 
and follow through, how to work alone, how to 
manage or even produce things. "So it was a new 
identity for me and although I had done writing 
before, I'd never really been encouraged. The 
Creative Woman really provided encouragement 
for me as a writer, too." 

"I think the magazine gave back to me as much 
or more than I gave to it in terms of the oppor- 
tunity for personal growth and professional 
development," Lynn said. 

So where do Lynn Strauss' horizons extend to- 
day? She's not sure. Right now she faces a variety 
of mid-life questions. Questions like, "What am I 
going to do with the rest of my life? As my kids 
get older, how am I going to feel about that? Am 
I going to be a writer? Or am I going to go back 
to school and start a whole new profession? Do I 





teuLJ * 




89 



really want to be on a career path, or do I want to 
keep my family life focus and just continue with 
interesting part-time jobs?" 

Lynn admits, "I'm not sure how I'm going to 
answer those questions." Lynn commented that 
while she's been lucky to have had two interesting 
jobs that she's been able to grow in, "it's been ex- 
tremely hard to take care of the emotional and 
physical needs of three kids . . . making sure that 
they have their lunch boxes and their shoes tied, 
and that there's a babysitter arranged for them 
after school, or that someone didn't forget their 
homework— and then to come to work and have 
to do a really good job." 

"I fantasize about how, if I had a baby, I'd quit 
work for a year or two, stay home and garden, 
read, jog every day, relax, sit back and enjoy my 
kids while they're still young." 

"But there's a sacrifice in that decision, too," 
Lynn said, "in terms of your professional future. 
And I'm not a person who enjoys being home 
alone five days a week. I get lonely; I want the 
stimulation and contact. So it's a dilemma. And I 
don't feel it's completely resolved by any means." 

Lynn Thomas Strauss was managing editor of The 
Creative Woman from 1978 to 1983. 

Margaret Brady is a journalist and a member of the Ad- 
visory Council. She has also helped to develop this issue. 



This is the second in a series, "Creative Lives", 
featuring the creative women who produce this 
publication. 



30 




DREAMING THE DARK: MAGIC, 
SEX AND POLITICS 

by Starhawk 

Book Review by Ellen H. Dohner 

Dreaming the Dark: Magic, Sex and 
Politics is a book about power. Power over, 
power within, political power, spiritual power, the 
power of community. The author, Starhawk, is a 
practicing witch, a therapist, a political activist, 
and a ritualist. She interweaves these roles with 
the realities of our time, telling us in anecdotal 
style how she and her friends protest nuclear 
power plants, do therapy, lead groups, and 
communicate with nature and the different parts 
of themselves. 

Starhawk balances the innovative with the 
historical in this essay. Calling on ancient myths 
and legends, especially those dealing with the 
goddess and the matrifocal nature religions, she 
asks us to use this wisdom to transform 
ourselves and society. To do this we must first 
"dream the dark." That is, go into the dark 
consciously, into the night, the fearsome, the 
underground, the unknown. When one embarks 
on this journey, one learns the power of the 
"immanent," a concept that is the motif of this 
book. 

The author calls for another kind of 
consciousness to heal the estrangement she now 
sees permeating society. It is consciousness of 
immanence — the awareness of the world and 
everything in it as alive, dynamic, interacting, "a 
weaving dance." All this is possible and can be 
done through "magic" — an act of will. 

Dreaming the Dark is a dance through 
women's history and women's psyches. It is both 
poetic and polemic, practical and visionary. I 
found it an inspiring guidebook for feminists 
whether male or female because of its very 
carefully drawn descriptions of group process and 
nature medications, rituals that are all-inclusive. I 
see this as a basically spiritual book in which 
Starhawk's body and soul shine through. I 
especially agree with her comment that 
community is the "ultimate healer" — and she 
offers us a vivid and timely guide for exactly how 
to accomplish this. 

Dreaming the Dark: Magic, Sex and 
Politics bv Starhawk. Boston: Beacon Press, 
1982. 



31 




Voluntary Simplicity 
by Duane Elgin 

Book Review by Young Y. Kim 

Life cannot be fooled. The central question in 
life is not "To be or not to be" but "How to be." 
For those of us who work toward improving the 
quality of life, this book offers invaluable insight 
and direction. 

Voluntary simplicity is presented in this book 
as a philosophy of living and living well. It 
presents a personhood which brings together in- 
ner spiritual, and outer material and social 
growth. It is a way of life which fosters our con- 
scious and direct encounter with life itself. It en- 
courages us to voluntarily minimize unnecessary 
accumulation, distractions, and pretense of 
materials and ideas which weigh upon our lives 
and make our passage through the world more 
cumbersome. How we simplify is a very personal 
affair, as the author points out. We all know 
where our own lives are unnecessarily com- 
plicated. The author, however, suggests some 
general principles of the life of voluntary simplici- 
ty. For instance, one would own or buy things 
based on real need and consider the impact of 
one's consumption patterns on other people and 
on the earth. Before purchasing nonessential 
items one would ask oneself if these items pro- 
mote or cloud one's life activities. One would con- 
sciously simplify communications by making them 
more clear, direct, and honest without idle gossip 
and wasteful speech. One would further respect 
the value of silence and nonverbal expressions. 

This approach to life is not new. The founders 
of the world's major spiritual traditions have 
taught that we are misdirecting our lives if we 
make the pursuit of material wealth and social 
status our overriding goal. Jesus urged us not to 
store up, but to share with others, our wealth and 
our lives. Buddha urged us to consciously choose 

32 



a middle way— a balanced path through life bet- 
ween the extremes of deprivation and indulgence. 
Other great teachers— Lao-tzu, Mohammed, and 
many more — also taught the value of simplicity, 
clarity, unpretentiousness, and balance between 
the inner and the outer aspects of our lives. More 
recently, Gandhi taught us that true civilization 
can be realized not in the multiplication of human 
wants, but in the voluntary simplification of these 
wants. 

The author's contribution in this book, then, is 
to put these teachings into contemporary, global 
terms. As a human family, we are being pressed 
by necessity to begin an intense process of shared 
global learning. Examining historical trends, 
cycles of civilizations, and the technological 
developments and related ecological concerns, the 
author pushes forward the concept of voluntary 
simplicity as a goal for humanity itself. I applaud 
the author for his attempt to present a human 
identity and an understanding of reality which 
transcends any one particular cultural orientation. 
The concept of voluntary simplicity embraces 
both Western and Eastern ideas, and projects a 
creative, integrated outlook on life. 

I find this book very persuasive and inspiring. 
The author communicates many complex and pro- 
found ideas in a simple and yet eloquent manner. 
In this small paperback, the author takes me into 
the depths of the human condition, the vastness 
and magic of life and the universe, and the past, 
present, and the future of humanity. Most of all, 
the author makes me take a good look at myself 
and reflect on my own life activities. 

The message of this book is that there is no 
one else. Each of us is responsible for our own 
personal life as well as for our collective future. 
Small changes that seem insignificant in isolation 
can be great contributions when they are 
simultaneously undertaken by many others I 
hope that this book will be read by many others 
who affirm life and who conscientiously search for 



ways to improve its quality. 

Young Y. Kim is a professor of communication at Gover- 
nors State University. 

Voluntary Simplicity by Duane Elgin, New 
York: Bantam Books, 1982. 




Rising Goddess Cynthia MacAdam 



33 



WOMEN IN FILM 

By Joan Lewis 

The Cinema Guild, a division of Document 
Associates, Inc., distributes many dramatic 
feature and documentary films on women's 
issues, dealing with their social roles and personal 
aspirations. The International Women's Film 
Project collection is comprised of four award- 
winning films produced by the International 
Women's Film Project, a group of women of 
different nationalities and professional 
backgrounds who have combined their skills to 
produce educational films on women's issues. 

"The Emerging Woman," a 40-minute black and 
white documentary produced in 1974, is the 
first — and is still called the best — film on the 
history of the women's movement in the U.S. 
Winner of a Blue Ribbon at the 1975 American 
Film Festival, "The Emerging Woman" was 
chosen in 1976 by the American Revolution 
Bicentennial Commission as its official film on the 
history of women. 

"The Double Day," a 52-minute color 
documentary produced in 1975, deals with 
women in Latin America who combine their 
participation in the labor market with their family 
functions as mothers and wives, thus working a 
"double day." It was selected for screening at the 
United Nations' International Women's Year Con- 
ference and was a finalist in the 1976 American 
Film Festival. 

"Simplemente Jenny," a 33-minute color 
documentary produced in 1977, explores the 
varied cultural influence— from religion to 
advertising and popular culture— which shape the 
lives of women in Latin America. It won a Blue 
Ribbon at the 1978 American Film Festival and 
was broadcast nationally on the Public 
Broadcasting Service. 

"From the Ashes: Nicaragua Today," a one-hour 
color documentary on the new society emerging 
from that war-torn country, is the most recent 
production by the International Women's Film 
Project. It aired on PBS stations throught the 
U.S. last spring, and has since won several major 
awards, including a Red Ribbon at the American 
Film Festival and the "Best Documentary" award 
at the Global Village Video and Television 
Documentary Festival. 

The Canadian documentary feature, "A Wives' 
Tale," focuses on the wives of striking miners and 
how they are led to question their traditional roles 
as wives and mothers. 

"The Life and Poetry of Julia de Burgos" is a 
half hour docu-drama that portrays the life and 
work of the great Puerto Rican poet, Julia de 

34 




* 



Burgos. She was considered by many, including 
Nobel Prizewinning Chilean poet Pablo Neruda, to 
be the greatest contemporary Latin American 
poet, yet she died in anonymity on the streets of 
New York at the age of thirty-six. Directed by 
award-winning Puerto Rican filmmaker Jose 
Garcia, "The Life and Poetry of Julia de Burgos" 
was shot on locations in Puerto Rico and New 
York. The film offers a sensitive and moving 
depiction of the prolific career and tragic death of 
this poet, and also features breath-takingly 
beautiful pictorial interpretations of her major 
works. 

Feature-length dramatic films include "Passione 
d'Amore," a 19th century love story which offers 
an intriguing look at our preoccupation with 
feminine beauty. Both "Bellissima," with Anna 
Magnani and directed by Luchino Visconti, and 
"The Lady Without Camelias," directed by 
Michelangelo Antonioni, are two classic Itahan 
films of the fifties which feature strong women 
characters in their behind-the-scenes looks at the 
film industry. Descriptive flyers on each of the 
International Women's Film Project titles are 
available on request from The Cinema Guild, 
1697 Broadway, New York, NY 10019, phone 
(212) 246-5522. 



LETTERS TO EDITOR 

On Men Changing 
Dear Editor: 

The latest issue of The Creative Woman 

makes for top-notch reading for all of us in the 
GSU community and shows us off magnificently 
to those beyond it as well. Yet I cannot help but 
comment upon a couple of points made in Doug 
Knox's article, because I believe that it is more 
important to keep the intellectual record straight 
than it is to exult in the import of an otherwise 
exemplary issue. 

The essence of Mr. Knox's article affirms the 
corrective potential of feminism to the historically 
specific over-emphasis on rationalism and scien- 
tism which has up until recently engulfed our 
civilization. I certainly take no exception to this 
claim. However, Mr. Knox's comments along the 
way are not accepted uncritically by the intellec- 
tual feminist community and I think should not be 
proferred as its consensual base. 

For one thing, most historians and an- 
thropologists doubt the existence of a 
prehistorical matriarchal civilization. Matrifocal 
and matrilineal no doubt, but not matriarchal with 
all that this implies for the institutional 
preeminence of women. Furthermore, it is not 
necessary to posit the existence of a matriarchal 
prehistory in order to lay claim to the early in- 
fluence of female deities and an organic concep- 
tion of life. 

Secondly, it represents a serious misreading of 
evolutionary and genetic mechanisms to say that 
"Forty thousand years of natural selection has 
genetically programmed women to be integrative- 
holistic." Though tempting to assert, it is difficult 
to support such claims for the genetic programm- 
ing of anything as complex as an "integrative- 
holistic" component of women's (or any human's) 
personality, nor is it likely that a genetic 
mechanism of such global proportions would have 
(if it could have) affected one sex only. 

My point is not to nit-pick, but to recognize 
that we do no service to the amazing intellectual 
revolution feminist scholarship has wrought, by 
making indefensible claims. Rather, such claims 
make it easier to dismiss the whole of feminism 
for mere excesses of its parts. 

Finally, let me say this: of course, I agree in 
spirit with what Mr. Knox is trying to affirm. 
However, I also recognize the potential for an ir- 
rational and ultimately corrosive effect from too 
much celebration of such views. Let us not negate 
all of civilization in our rejection of the partial ex- 
cesses of a way of doing science (not necessarily 



all of science itself) with which we find fault. Do- 
ing so could not help humanity's progress any 
more than it will vindicate feminism. 

Thanks for the opportunity to respond. Con- 
gratulations on an excellent issue. 

Sincerely, 

Harriet Gross, Ph.D. 

University Professor of Sociology and Women's 

Studies 

College of Arts and Sciences 



Dear Helen: 

Your learned respondent seems to imply that a 
primitive matriarchy would necessarily 
exhibit an "institutional preeminence of women." 

I very much doubt that modern language can 
adequately describe primitive reality. I doubt that 
a concept which might be described as "institu- 
tional" existed among early homo sapiens. 
Therefore I can not argue the suitability of one 
metaphor over another. 

I selected the term "integrative -holistic" on the 
basis of my experience with women during my 
lifetime. To this I apply my understanding of 
modern evolutionary theory: behavior (or adapta- 
tion), even with the most tenuous link to genetic 
determinism, that confers reproductive success 
will eventually become the norm. If I had a womb 
you can be damn sure I would be "integrative- 
holistic" before I activated that womb. I submit 
that in sexual matters different norms apply bet- 
ween men and women. 

I realize this plunges me into the heart of the 
nature-nurture debate. But let me bear witness 
that as a male I am genetically programmed to 
plunge into a female without regard to 
"integrative-holistic" considerations. A civilized 
veneer has been applied to my genetic program by 
training and society. But the point I make is that 
I never met a female with an equivalent genetic 
program. The females I have known were always 
"integrative-holistic," which I attribute to their 
genetic program. 

Society with its absurd emphasis upon romantic 
fantasy (for patriarchal edification) tends to sup- 
press the female's genetic "integrative-holistic" 
program. 

Sincerely, 
Doug 



35 



Dear Editor: 

No one can prove beyond all doubt that matriar- 
chal societies existed in the prehistoric world. On 
the other hand, no one can prove that they did 
not. There is abundant evidence indicating that 
early peoples worshipped female deities and trac- 
ed their lineage through women. There is also 
widespread agreement among scholars that the 
connection between sexual intercourse and 
procreation was not understood by early humans 
and that until it was, women were considered to 
be holier than men by virtue of the fact that they 
alone could bring forth life. Under such cir- 
cumstances the status and power of women must 
have been high. The argument against calling such 
primitive societies "matriarchates" is based on the 
premise that dominant authority cannot be achiev- 
ed or held except by physical force. This premise 
seems fallible when one considers the immense 
and demonstrable power of religious belief and 
political propaganda in our own time. 

Ancient Crete was one of the latest of the high 
civilizations to show characteristics associated 
with a matriarchate. A queen occupied the throne 
and passed it on to her daughter, even when sons 
were available. The queen was also head of 
religion, which was a worship of female deities. 
Priestesses officiated at ceremonies and women 
occupied the best seats at entertainments. The 
queen took consorts at intervals; these men were 
given the title of Minos. They do not appear to 
have had much power other than that of 
procreation. Nowhere in the scenes depicted in 
murals, on vases, caskets, and seal rings are men 
shown in positions of authority. 

At the height of its glory, Crete was one of the 
greatest civilizations ever known. Art, 
architecture, agriculture, crafts and trade 
flourished, and peace reigned. The magnificent 
palaces were without walls; the artwork without 
scenes of violence; the graves without weapons. 
What was valued was the joy of living. 

This society, which lasted more than a 
thousand years, fell at last to invaders from 
continental Greece who worshipped a male god 
and valued the skills of war. Their values have 
dominated western civilization ever since. 

What was lost with the fall of the matrifocal, 
matrilineal, perhaps matriarchal societies was not 
only respect for the serious contribution of 
women to the management of the state, but also 
and even more importantly, reverence for the 
qualities associated with the feminine 
principle — the nourishment of life, compassion for 
its pain and celebration of its joy. 

June Rachuy Brindel 
Wilmette, IL 



Dear Ms. Hughes: 

This is just a short note to let you know how 
pleased I was with your last issue of The 
Creative Woman (Spring/ Summer). 

Your publication has always been one of 
admirability due to the fine journalistic coverage 
and range of topics that are explored. You really 
outdid yourselves on this latest issue, though. 
The new slick edition compliments the printed 
word all the more, and I found your articles both 
stimulating and educational. I'm always learning 
something new that I can't get from any other 
publication around. 

I was especially satisfied with your photos of 
fathers and their children. Too often, the men are 
left out of their children's lives when they want 
very much to be a part of it. Our society is just 
beginning to adjust and accept the wonderful 
sensitivities that men offer in being caretakers for 
their children. 

It would be unfair for me to hand pick certain 
articles I liked in this issue because they were all 
superb, and I believe you should know when 
subscribers are appreciative of your work. Too 
often we hear the negative comments, so I'd like 
to do my part and give some positive input. Keep 
up the excellent work — I'm enjoying The 
Creative Woman immensely, as are the people 
I've encouraged to subscribe to your fine 
publication. 

Best Regards, 

Deborah Eve Grayson, C.P.T. 



Dear Editor: 

Bravo to the obstinance and perseverance of Ed 
Bailey-Mershon! 

Even before I married, I was determined to 
carry on an old Celtic tradition, retaining my 
maiden name always with the attachment of my 
husband's, as a family name. One's name is a 
personal extension of one's self, therefore it 
deserves the appropriate respect; proper spelling; 
correct form. 

Sincerely, 

Mary O'Sullivan-Condon, Park Forest 



36 



Dear Helen: 

Wow! It. came out fantastic! There must have 
been a green dove whispering instructions in your 
ear when you and the staff put this together. I 
can feel the trees move in the paper, the space 
around my poems is big enough for teardrops 
from the reader. 

Helen, I thank you for this effort; your strong, 
gentle hand moves us toward the human future. 

Alive, 

Michael Chandler 

Blandford, Mass. 



Dear Helen Hughes: 

Thanks verv much for the complimentary copies 
of Vol. 6, No" 3. 

The issue is certainly filled with provocative 
fare; and I have sent copies of material, including 
my own, from the magazine to, at present, 15 of 
my friends, most of whom are in a position to 
sing the praises publicly of your fine magazine. 

Best wishes for the sunniest future. 

Sincerely, 
Edwin Bruell 
Hazel Crest, IL 



Dear Editor: 

This is an extraordinary issue, beginning with a 
very sensitive and moving photo on the cover. I 
was especially stimulated by the Knox article 
which related the feminine -masculine principle to 
the cosmic and the human, illustrating the 
inherent motion to balance the forces. The 
Creative Woman is a rich source for GSU and 
the many who read it coast-to-coast. 

Michael Purdy 

Professor of Communication 

Governors State Universitv 



Announcements 



36 



e^au* 







JING HEAVENLY KXJ5E / 



IN THE FICTION ISSUE YOU'LL FIND I70 PAGES OF CONTEMPORARY SHORT 
STORIES SELECTED BY CAROL BLY, AUTHOR OF "LETTERS FROM THE 
COUNTRY." WINNERS OF A SHORT STORY CONTEST FOR UNPUBLISHED 
WRITERS INCLUDE SUSAN CHAMPION FOR "THE THAW," MARIA MURAD FOR 
"GOLDEN LASSES," AND PEGGI MCCARTHY FOR "I COME TO MYSELF AT 
LAST." OTHER WRITERS INCLUDE LAYLE SILBERT, REBECCA RASS, JOAN 
COLBY, DANIELLE HARNED, JUNE RACHUY BRINDEL, RUTH MOOSE, JULIA 
ALVAREZ, BONNIE ALEXANDER, MARY BUSH, CAROL ANDERSON PORTER, 
MAUDY BENZ, AND JANE PIIRTO NAVARRE. 




$7 INCLUDES POSTAGE 



P.O. Box 14059, Minneapolis, MN 55414 



38 



d$\t bjjimr '(hlcnfar 



Announcements 




mm****- — ' 

j^ecticateti to \k{ oortdtss in net many ou^>c> 
LUNA PRESS Box 511 Kenmore Station, 
Boston. MA. 02215 U.S.A. 



Houghton Mifflin 



ARIADNE 

A novel of /Indent Crete 
JUNE RACHUY BRINDEL 



"Ms. Brindel has created in ARIADNE a sense of the madness 
and chaos which must have ensued when the 'new men' over- 
threw the Cretan dynasty and its sacred traditions. The 



author makes us care as Ariadne tries to thread the way 
for her people through drought, famine and revolution. 
Ms. Brindel has used mythology well and perceptively in 
telling her monstrous, tragic story." 

— Marija Gimbutas 

author of The Gods and Goddesses of Old 

Europe, 7000-3500 B.C. 

39 



Announcements 

Guide 

to 

Women's 

Art Organizations 

and 

Directory for the Arts 

Multi-arts Centers/Organizations/Galleries 
Groups/Activities/Networks/Publications 
Archives/Slide Registries/Emergency Funds 
Artists' Colonies/Grants & Fellowships 
Health Hazards/Art Business 
Resource and Information Agencies 



painting 

sculpture 

drawing 

photography 

Intermedia 

dance 

music 

theatre 

architecture 

crafts 

film & electronic print media 

writing 

bibliography 



Cynthia Navaretta 

Midmarch Associates, Publishers, 

New York City. 



HERS 



Health Evaluation & Referral Service 
1954 West Irving Park Road 
Chicago. Illinois 60613 





Call 
HERS 

for Information 
and Referrals 



248-0166 



catalyst 



news 



14 East 60th Street Telephone: 212-759-9700 

New York, N.Y. 10022 



Contact: 

Laurie Norris 



CATALYST LIBRARY EXTENDS ITS INFORMATION RESOURCES 
THROUGH NEW DATA BASE 



40 



GLORIA 
STEINEM 

OUTRAGEOUS ACTS AND 
EVERYDAY REBELLIONS 



EDITOR'S COLUMN 

A breath off fresh air: Gloria 
Steinem revisited 



Gloria Steinem has been our foremost feminist 
interpreter and organizer for the past ten years. 
As founder of MS and as a journalist and lecturer, 
she has done much to illumine the issues of our 
time as they affect us all, from the perspective of 
feminism. Her collected writing has now been 
published and Gloria was in town to talk about 
her work and her book, presented by Chicago 
Women in Publishing, in September. 

Your editor was there, taking notes. Steinem 
says that her goal is to establish for women 
"pyschic turf, and that is why most women's 
groups are circular, so as to break down 
hierarchical roles. She reminds us of Susan B. 
Anthony when she exclaims, "If we come here 
today and there's no trouble tomorrow, we 
haven't done our job". While a legal identity has 
now been established both for blacks and women, 
we arc still waiting for equal identity. We have 
come a pretty good distance, and have achieved a 
general consensus that there should be equal pay 
for equal work (known as "that's the part I agree 
with") but we face a backlash from those folks 
who have benefited most from their having been 
born into their sex, race and class, epitomized by 
the one in the White House. Steinem says that 
we can understand Ronald Reagan because he's 



just the opposite of us. We have new words in 
the language that weren't heard ten years 
ago — like "wife battering" and "displaced 
homemaker" — we used to call it "life". The myth 
that women talk more than men came about 
because we have been measured against silence. 
Now she is ready to redefine politics as "any 
power relationship in our daily lives", and of these 
she cites four: (1) reproductive freedom as a basic 
human right, and the power to decide 
reproductive issues is the bottom line of the 
patriarchy; "any racist regime must also be sexist 
in order to control the women of both groups", 
(2) a redefinition of work: most of what we have 
done has been called non-work; it used to be that 
art was what men did and crafts was what women 
did, but all human work must be recognized 
according to its value. Here she commented that 
the home is more dangerous than the street for a 
woman, because it's the place where she's most 
likely to be replaced by a younger worker. (3) 
achieving the choice of a democratic family. 
governed by anti-hierarchical values and patterns. 
To achieve this, we must overcome deep pat- 
terning in the brains of both men and women. (4) 
To change the images of women in the media: 
when will that poor ringaround-the-collar wife 
turn to her husband and ask him "why don't you 
wash your neck?" 

She reminds us again and again that feminism 
means all women; let's not let anyone turn us 
against each other. When the abolitionist 
movement was permitted to destroy the suffrage 
movement it set up such deep divisions of sex 
and race that we still have not recovered from it. 
Describing how it is that women are more 
conservative when young, and grow more radical 
with age, she explains, "we have to experience 
the penalties of being female in order to become 
radical". Men go through the opposite process, 
more radical when young, and more conservative 
later. At the end of her witty lecture, peppered 
with one-liners and drawing frequent laughter and 
applause, Steinem closed by stressing the 
seriousness of our mission which is none other 
than to figure out how to save ourselves on this 
fragile spaceship earth, thus striking a note that 
will be familiar to the readers of these pages. 
Gloria! Gloria in exeelsis! 

Another moving event of this fall was the award 
of the Nobel prize in genetics to Barbara 
McClintock, 81 years old, ignored for years, 
finally honored forty years after she earned the 
distinction. What would it have meant to her life, 
had she been recognized at the appropriate time'.' 
While she has continued her work with dedication 
during these years since her 1927 doctorate, she 
had given up publishing her results ("Nobody was 
reading me, so what was the use ") Now she has 



been able to move out of her two rooms over a 
garage and buy a Honda. We salute this neglected 
scientific genius with a twinge of pain because 
recognition has been so unfairly withheld for so 
long, and with pride in her indomitable character 
as she says "I can't imagine having a better life." 

Another newsworthy item is the recent 
translation of the Judeo-Christian Bible into fresh 
non-sexist, non-patriarchal language. The Holy 
Bible, translated so many times, into so many 
languages, for so many different readers over the 
centuries, now has, by the grace of the National 
Council of Churches, supported by 32 Protestant 
and Orthodox denominations with 40 million 
members, re-emerged. The translation is, of 
course, controversial. One of the theologians who 
worked on the project, said in defending it, 
"When women as well as men are associated with 
the divine, it will be a little less easy to rape a 
woman." (Quoted on "All Things Considered", 
National Public Radio, 10-15-83) To many men 
and women, the Great Creative Spirit of the 
universe must be far beyond our narrow, 
earthbound ideas of gender and sexual duality. 
And the language we use is important because it 
determines the way we think, and limits how we 
can act. As Brubaker has pointed out, "The 
power of recognizing the female in deity. . . 
(enables us) to see divinity everywhere." We leave 
you with a quote from Lucretia Mott, in a talk 
given in Boston in 1873, to the Free Religious 
Association: "Let it be called the Great Spirit of 
the Indian, the Quaker Inner Light of George Fox, 
the Blessed Mary, mother of Jesus of the 
Catholics, or Brahma, the Hindu's God — they will 
all be one and there will come to be such faith 
and such liberty as shall redeem the world." 

HEH 



42 



INDEX TO VOLUMES 5 & 6 

Prepared by Peggy Jeff era 

linlcv l»V A..H1..1 

Aal, Katharyn Machan. "Oh She Dances" (Poem), VOL 6, NO 4. 
P. 83. 

"The Woman Who Wears Snakes on Her Arms" (Poem). 



VOL 6, NO, 4, P. 38. 
Agne.Joe, "Mother Reconsidered." VOL. 6, NO. 8. P. 38. 
Amen, Carol. "The Donor," a Story. VOL. 6. NO, 2. P 35 
Bailev-Mershon, Ed. "The Name Change Game." VOL. 6, NO 3, 

P. 81. 
Bandstra, Donna. "Reflections on Slender Bender." VOL. 6, No 1 

P. 14. 
Beecher, Maureen Ursenbach. "Marriage in Early Utah: Pattern and 

Patchwork." VOL. 5, NO. 3, P. 39. 
Berry, Mary F. "The Constraints and Opportunities for Black 

Women in the 1980s." VOL. 5, NO. 8, P. 18. 
Brady Margaret. "Beyond Myth ... Women and Running." VOL. 6, 

NO. 1. P. 29. 
. "Creative Lives: Lvnn Thomas Strauss." VOL. 6, NO. 4. 



28. 



"Ih 



(Poem) VOL. (i. NO. 3, P. 8. 



Brubaker, Ginny. "The Goddess is Alive and Magic is Afoot." 

VOL. fi, NO. 4, P. 12. 
Bruell, Edwin, "Queen Love." VOL. 6, NO. 3, P. 26. 
Canzler, Lillian Clark. "Memories of a Great Aunt." VOL. 5, 

NO. 3, P. 9. 
Carew, Joj Gleason. "Women and Agricultural Technology in the 

Third World." VOL. 5, NO. 2, P. 5. 
Carmlchael, Carolyn. "Hook Review: A Little Original Sin: The Life 

and Work of Jane Bowles and Mv Sister's Hand in Mine: The 

Collected Work of Jane Bowles." VOL. 5, NO. 1, P. 31. 
. "Book Review: In the Shade of Spring Leaves by Robert 

Lyons Danly." VOL. 6, NO. 3, P. 37. 
Chandler, Michael. "Coming Home to A Cabin in the Woods" 

(Poem). VOL. 6, NO. 3, P. 33. 

"Husband and Wife" (Poem). VOL. 6, NO. 3, P. 35. 

"My? Wife" (Poem). VOL. 6, NO. 3, P. 34. 

"Stepfathering" (Poem). VOL. 6, NO. 3, P. 36. 

Cortese, Nora Massignotti. "The Promise to Return." VOL. 5, NO. 

2, P. 26. 
Cothroll, Kathleen Crowley. "Transience: An Artist's Statement." 

VOL. 5, NO. 1, P. 9. 
Creager, Joanne. Annotated Bibliography. VOL. 6, NO. 2, P. 15. 

.. "Lawycrbane" (Poem). VOL. 6, NO. 2, P. 16. 

. "Portrait of a Professional." VOL. 6, NO. 2, P. 25. 

Dan, Alice. "Writing/From a Premenstrual Perspective" (Poem). 

VOL. 6, NO. 1, P. 13. 
Davis, Barbara Hillver. "Recovering the Stories of Oklahoma 

Women." VOL. 5, NO. 3. P. 3. 
de Mattia, S. "The Opening of Doorwavs" (Poem). VOL. 5, NO. 1, 

P. 28. 
Deslierres, Karen and Hume, Buzz. Photo Essay of "Field 

Rotatation," A Sculpture by Man.' Miss. VOL. 5, NO. 1, P. 20. 
Dimitroff, Michael L. "Animus and Annua: The Woman's Man and 

the Man's Woman." VOL. 6, NO. 3, P. 14. 
Dohner, Ellen Han-ell. "Confronting the Goddess — Within and 

Without." VOL. 6, NO. 4, P. 4. 
"Book Review: Dreaming the Dark: Magic, Sex, and 

Politics by Starhawk." VOL. 6, NO. 4. P. 38. 
Dona, June S. and Hughes, Margaret S "Growing Up in Alaska." 

VOL. 6. NO. 2, P. 41. 
Elbert, Joan. "Clergy and Laity Concerned! In Pursuit of Peace and 

Justice " VOL. 5.' NO. 4. P. 28. 
Elkind, Sue Saniel. "Afloat Again" (Poem) VOL. 6. NO. 2, P. 19. 

'The Women m Ward C" (Poem) VOL 6. NO 2. P. 31. 

Feldman, Walter S "Women's Liberation: Ten Years Later." Vol. 6. 

No. 3. P. 11 
Filer. Elizabeth. "Not One But Two: Repetition and Identity in 

Gertrude Stein." VOL. 5, NO. 4, P, 35 
Friedrich, Deborah. "The One That You Love" (Poem). VOL. 6, 

NO. 4, P. 7. 
Friedrich, Paul. "Two Faces of Aphrodite" (Poem). VOL 6, 

No. 4, P. 7. 
Gabbin. Joanne. V. "Phoenix" (Poem) VOL. 5, NO. 2. P. 28. 
Galiotto, Linda "Dead Weight." VOL. 6, NO. 1. P 88 
Gende, Judge Susan "Domestic Violence " VOL. 6, NO 2. IV 11 



Gimbutas. Marija "Vulva* Breasts and Buttocks of The Goddess 
Creatress Commentarv on the Origins of Art ." VOL 6 
P 8 

Graham, Barbara W "A Feeling of Dynamism." VOL 5 N't 1 

I' 10 

Gross, Harriet Marcus "The Weaver" (Poem) VOL 5. NO 3. 

P. 15 
Haegel. Nancy Time to Commence." VOL 5. NO II' 28 
Hagens. Bethe The Goddess in the New World Alliance " VOL <> 

NO 4. P. 17 
Haneman, Julie. "Building Harmony An Artist's Statement 

VOL 5. NO L. P. 8 
Hams. Addie. "Black Women of the West 1880-1980 Vol. 5. 

NO 3. P. 16 
Havey, Elizabeth A "Getting Healthy or Confessions ol a Scdcman 

Life " VOL 6. NO 1. P 24 

"Waiting for Christine." VOL 6. No 4. I' 25 

Herbeck, Marilyn. "Fitness The Three-Fold Path " VOL 6. NO 1. 

P. 19. 
Hughes, Helen "Editor's Column." 
"Fireflies. Images of a Summer Night " VOL. 5. NO 1. 

P. 34. 

"From the Editor's Yantagepoint " VOL 5. NO 8, P 4 1 

. "A Celebration of Ten Years: Chicago Women in 

Publishing." VOL. 5, NO. 3, P. 45 

. VOL. 5, NO. 4, P. 45. 

"Cleanse the Streams of Poison." VOL 6. NO. 1. I' 45 

. "On the State of the Quarterlv." VOL. 6. NO 2. P 46. 

"Will the Real Man Please Stand Up?" VOL. 6. NO 3. 



P. 45. 



."VOL. 6. NO 4. P 



"Introduction-Our Bodies: Taking Charge." VOL 6. 

No. 1, P. 3. 
"Let the Bird of Earth Fly, A Report on the Gathering. 



VOL. 5, NO. 1. P. 25. 
Hughes, Margaret S. and Dona. June S "Growing Up In Alaska " 

VOL. 6, NO. 1, P. 41. 
Hume, Buzz. Photo Essav of "Field Rotation." a Sculpture by Man 

Miss. VOL. 5, NO. 1, P. 20. 
Iezzoni, Lvnette. "Mv Last Glimpse of Miranda." VOL 5. N< > 2. 
P. 31. 
Jeffers, Peggy. "Men Changing: A Bibliographv." VOL. 6. NO. 3. 

P. 39. 
Kamp. Sandra Salus. "Paintings of Feelings and Atmospheres An 

Artist's Statement." VOL. 5. NO. 1, P. 7. 
Kennedv, Jane. "Is Peace Possible in the Patriarchy?" VOL. 5. 

No. 4, P. 21. 
Kim, Young Y. "Book Review: Voluntan- Simplicity by Duanne 

Elgin." Vol. 6. NO. 4. P. 32. 
Knox, Doug. "Twilight of the Gods." VOL. 6. NO. 3. P. 5. 
Krause, Bonnie. "Clara" (hit erview) VOL 5. NO 3. P 12 
Kruse, Ginny Moore. "Children's Books about War and Peace" 

(Selected for the Peace Museum) VOL 5. NO 4, P. 24. 
Lacaria, Judith. The Tilings I Must Do" (Poem) VOL 5. No 1. 

P. 12. 
Lee. Cynthia J. "I Was a Law School Wife." VOL. 6. NO. 2. P. 20. 
Lewis. Joan Barcliard. "Artist Meets the Environment Man 

Malone ." VOL 5. NO 1. P. 17 
"Book review Originals American Women Artists by 

Eleanor Mrnro " VOL 5, NO I, P 3 

"Sci-Fl-Flic" (Poem) VOL 5, No 4. P 31 

"Women in Film." VOL 6, NO 4. P. 34 

Livingston. Nickolas R "Book Review Walcrcolor Bold and Free 

by Lawrence C Goldsmith " VOL 5, No 8, P 88 
Martin. Odette Ewell "The Black Mother Cultural [mages " 

VOL 5. NO 8, P 88 
Martin, Susan I "Portrait of the Lawyer as Artist "VOL 6, NO 8, 

P. 17 
Masaon, VeNeta "Nursing Healing In a Feminine Mode " VOL 6, 

NO 1. P 7 
Matteson, David and Eric Tootsle, a Father-Son Review " VOL 6, 

NO 3. P 17 
Morishita. Jovce Cmzuko "Eternal Rainbows An Artist's State - 
meni " VOL 5, No L, P. 6 
Norman. Julie A "This Is No Way To Live Women Law Students 

Look at the Law School Experience " VOL 6, N» > 8, P 27 
Ohm, Elizabeth "Book Review The Fate of the Earth bv Jonathan 

Schell " VOL 5. NO 4. P 88 



19 



( I lun, Elizabeth and Saul. Jim. "Book Review: The New Male-Female 
Relationship by Herb Goldberg." VOL. 6. NO. 3. P. 22. 

Pane. Karen. "Karen Page: Fiber Artist." VOL. 5, NO. 1, P. 18. 
Pat I on. June, 'introduction — Third World Women: The Struggle 

Continues." VOL. 5. NO. 2. P. 3. 
Pierce. Barbara. "Confessions of A Soccer Junkie." VOL. 6. NO. 1, 

P. 36. 
Plvs, Ginger. "Yoga as a Discipline for Women." VOL. 6, NO. 1, 

P. 21. 
Powell, Man- Clare. "The Future is Female Project Report *1." 

VOL. 6. NO. 1, P. 4. 
Reed. Reverend James M. "What the World Needs Now." VOL. 6, 

NO. 3, P. 9. 
Reiss, Victoria. "War is no Game: Public Action Coalition on 

Toys." VOL. 5. NO. 4, P. 26. 
Ritchie, Linda and Lori Seid. Photos-Poems. VOL. 6, NO. 1, P. 27. 
Roychoudhari, Santwana. "Indian Films." VOL. 5, NO. 2, P. 14. 
Saul, Jim and Ohm, Elizabeth. "Book Review: The New Male-Female 

Relationship by Herb Goldberg." VOL. 6, NO. 3, P. 22. 
Schilling Laura, j.D. "For the Prosecution." VOL. 6, NO. 2, P. 14. 
Schwartz, Katherine. "South Suburban Nuclear Freeze Committee." 

VOL. 5, NO. 4, P. 12 
Schwartz, Terri Pease. "Book Review: If I Should Die Before I 

Wake bv Michelle Morris." (How "She Could Let That Happen") 

VOL. 6', NO. 1, P. 11. 
Seid, Lori and Linda Ritchie, Photos-Poems. VOL. 6, NO. 1, P. 27. 
Shutner, Lee. "Peace Vigil in Damariscotta." VOL. 5, NO. 4, P. 20. 
Strauss, Lvnn Thomas. "Building Images: An Interview with M. S. 

Myrow." VOL. 5, NO. 1, P. 13. 
. "Cosmosis: An Interview with Marlena Chandler." VOL. 

5, NO. 1. P. 15. 

. "Experiences of a Men's Group." VOL. 6, NO. 3, P. 30. 

. "Interview with an Attorney." VOL. 6, NO. 2, P. 32. 

. "Introduction." VOL. 6, NO. 3, P. 3. 

. "Introduction -Women in Law." VOL. 6, NO. 3, P. 3. 

. "Judith Lacaria: Artist and Teacher." VOL. 5, NO. 1, 



P. 11. 



. "Justice Sandra Dav O'Conner: Making Historv." VOL. 6, 

NO. 2, P. 4. 
. "Research Guide to Women in American Historv." VOL. 

5, NO. 3, P. 36. 
. "The Role of Women in the American Peace Movement." 



VOL. 5, NO. 4, P. 3. 
Suransky, Polakow. "Zimbabwe's Children: Education, Women and 

Child Care in Post-Revolutionarv Societies." VOL. 5, NO. 2, 

P. 10. 
Treewoman, Judith. "I say to you" (Poem). VOL. 5, NO. 2, P. 30. 
Treitel, Margaret. "At the Cloisters" (Poem). VOL. 6, NO. 4, 

P. 22. 
Vaughn, Courtney Ann. "Book Review: Frontier Women: The Trans- 
Mississippi West, 1840-1880 bv Julie Roy Jeffrey." VOL. 5, 

NO. 3. P. 25. 
Wasiolek, Emily. "A Woman Wins First Place in the Worldloppet 

Competition.'" VOL. 6, NO. 1, P. 33. 

"Movie Review of Personal Best." VOL. 6, NO. 1, P. 38. 

Watson, Pat. "Frostline Kits: A Report." VOL. 5, NO. 1, P. 5. 
Wheat, Donald H. "Bootsie." VOL. 6, NO. 3, P. 20. 
Wheeler, Adade Mitchell and Wortman, Marlene Stein. "Indian 

Women" excerpted from The Roads Thev Made: Women in Illinois 

History. VOL. 5, NO. 3, P. 27. 
Wilson, Phvllis. "Book Review: Ancient Mirrors of Womanhood by 

Merlin Stone. VOL. 5, NO. 2, P. 29. 



INDEX BY TITLE 

"Afloat Again" (Poem) by Sue Saniel Elkind. VOL. 6, NO. 2, P. 19. 
"Animus and Anima: The Woman's Man and the Man's Woman" 

by Michael L. Dimitroff. VOL. 6, NO. 3, P. 14. 
Annotated Bibliography prepared bv Joanne Creager. VOL. 6, NO. 2, 

P. 15. 
"Artist Meets the Environment: Marv Malone" bv Joan Lewis. 

VOL. 5, NO. 1. P. 17. 
"At The Cloisters" (Poem) bv Margaret Treitel. VOL. 6, NO. 4, 

P. 22. 
"Bevond Mvth... Women and Running" bv Margaret Bradv. VOL. 6, 

NO. 1, P. 29. 
"The Black Mother: Cultural Images" bv Odette Ewell Martin. 

VOL. 5, NO. 2, P. 22. 
"Black Women of the West 1820-1920" bv Addie Harris. VOL. 5, 

NO. 3, P. 16. 
"Book Review: A Little Original Sin: The Life and Work of Jane 

Bowles bv Millicent Dillon," reviewed by Carolyn Carmichael. 

VOL. 5, NO. 1, P. 31. 
"Book Review: Ancient Mirrors of Womanhood by Merlin Stone," 

reviewed by Phyllis Wilson. VOL. 5, NO. 2, P. 29. 
"Book Review: Dreaming the Dark: Magic, Sex, and Politics by 

Starhawk," reviewed by Ellen H. Dohner. VOL. 6, NO. 4, 

P. 31. 
"Book Review: Frontier Women: The Trans-Mississippi West, 1840- 

1880 bv Julie Rov Jeffrey," reviewed bv Courtney Ann Vaughn. 

VOL. 5', NO. 3, P. 25. 
"Book Review: If I Should Die Before I Wake by Michelle Morris," 

reviewed bv Terri Pease Schwartz (How "She Could Let That 

Happen"). VOL. 6, NO. 1, P. 11. 
"Book Review: In the Shade of Spring Leaves by Robert Lyons 

Danly," reviewed by Carolyn Carmichael. VOL. 6, NO. 3, P. 37. 
"Book Review: My Sister's Hand in Mine: The Collected Work of 

Jane Bowles bv Millicent Dillon," reviewed bv Carolyn Carmichael. 

VOL. 5, NO. i, P. 31. 
"Book Review: Originals: American Women Artists by Eleanor 

Munro," reviewed by Joan Barchard Lewis. VOL. 5, NO. 1, P. 3. 
"Book Review: The Fate of the Earth bv Jonathan Schell," reviewed 

by Elizabeth Ohm. VOL. 5, NO. 4, P. 32. 
"Book Review: The New Male-Female Relationship by Herb 

Goldberg," reviewed bv Jim Saul and Elizabeth Ohm. VOL. 6, 

NO. 3, P. 22. 
"Book Review: Voluntary Simplicity by Duane Elgin," reviewed bv 

Young Kim. VOL. 6, NO. 4, P. 32. 
"Book Review: Watercolor Bold and Free by Lawrence C. 
Goldsmith," reviewed bv Nickolas R. Livingston. VOL. 5, NO. 2, 

P. 38. 
"Bootsie" by Donald H. Wheat. VOL. 6, NO. 3, P. 20. 
"Building Harmony: An Artist's Statement" bv Julie Haneman. 

VOL. 5, NO. 1, P. 8. 
"Building Images: An Interview with M. S. Myrow" by Lynn Strauss. 

VOL. 5, NO. 1, P. 13. 
"Children's Books about War and Peace" selected for the Peace 

Museum by Ginny Moore Kruse. VOL. 5, NO. 4, P. 24. 
"Clara" (Interview), by Bonnie Krause. VOL. 5, NO. 3, P. 12. 
"Clergy and Laity Concerned: In Pursuit of Peace and Justice" by 

Joan Elbert. VOL. 5, NO. 4, P. 28. 
"Coming Home to a Cabin in the Woods," Poem by Michael 

Chandler. VOL. 6, NO. 3, P. 33. 
"Confessions of A Soccer Junkie" bv Barbara Pierce. VOL. 6, 

NO. 1, P. 36. 
"Confronting the Goddess — Within and Without" bv Ellen Harvell 

Dohner. VOL. 6, NO. 4, P. 4. 
"The Constraints and Opportunities for Black Women in the 1980s" 

by Mary F. Berry. VOL. 5, NO. 2, P. 18. 
"Cosmosis: An Interview with Marlena Chandler" by Lynn Strauss. 

VOL. 5, NO. 1, P. 15. 
"Creative Lives: Lynn Thomas Strauss" by Margaret Brady. VOL. 6, 

NO. 4, P. 28. 
"Dead Weight" by Linda Galiotto. VOL. 6, NO. 1, P. 22. 
"Domestic Violence" by Judge Susan Gende. VOL. 6, NO. 2, P. 11. 
"The Donor," a Story by Carol Amen. VOL. 6, NO. 2, P. 35. 
"Editor's Column" by Helen Hughes. 

. VOL. 5, NO. 2, P. 41. 

VOL. 5, NO. 3, P. 45. 

VOL. 5, NO. 4, P. 45. 

. VOL. 6, NO. 1, P. 45. 

. "State of the Quarterly." VOL. 6, NO. 2, P. 46. 

. VOL. 6, NO. 3, P. 45. 

. VOL. 6, NO. 4, P. 41. 



"Eternal Rainbows: An Artist's Statement" by Joyce Chlzuko 

Morlshlta. VOL. 5, NO. 1, P. 6. 
"Experiences of a Men's Group" by Lynn Thomas Strauss. VOL. 6, 

NO. 3, P. 30. 
"A Feeling of Dynamism" by Barbara W. Graham. VOL. 5, NO. 1, 

P. 10. 
"Field Rotation," Cover photograph by Buzz Hume. VOL. 5, NO. 1. 
"Fireflies, Images of a Summer Night" by Helen E. Hughes. VOL. 5, 

NO. 1, P. 34. 
"Fitness: The Three-Fold Path" by Marilyn Herbeck. VOL. 6, NO. 1. 

P. 19. 
"For The Prosecution" by Laura Schilling, J.D. VOL. 6, NO. 2, 

P. 14. 
"Frostline Kits: A Report" by Pat Watson. VOL. 5, NO. 1, P. 5. 
"The Future is Female Project Report *1" by Mary Clare Powell. 

VOL. 6, NO. 1, P. 4. 
"Getting Healthy or Confessions of a Sedentary Life" by Elizabeth 

A. Havey. VOL. 6, NO. 1, P. 24. 
"The Goddess in the New World Alliance" by Bethe Hagens. Vol. 6, 

NO. 4, P. 17. 
"The Goddess is Alive and Magic is Afoot" by Ginny Brubaker. 

VOL. 6, NO. 4, P. 12. 
"Growing Up In Alaska" by Margaret S. Hughes and June S. Dona. 

VOL. 6, NO. 2, P. 41. 
"Hues," a Poem by Margaret Brady. VOL. 6, NO. 3, P. 8. 
"Husband and Wife" a Poem by Michael Chandler. VOL. 6, NO. 3, 

P. 35. 
"I say to you" (Poem) by Judith Treewoman. VOL. 5, NO. 2, P. 30. 
"I Was a Law School Wife" by Cynthia J. Lee. VOL. 6, NO. 2, 

P. 20. 
"Indian Films" by Santwana Roychoudhari. VOL. 5, NO. 2, P. 14. 
"Indian Women" excerpted from The Roads They Made: Women In 

Illinois History by Adade Mitchell Wheeler and Marlene Stein 

Wortman. VOL. 5, NO. 3, P. 27. 
"Introduction" by Lynn Thomas Strauss. VOL. 6, NO. 3, P. 3. 
"Introduction-Our Bodies: Taking Charge" by Helen Hughes. 

VOL. 6, NO. 1, P. 3. 
"Interview with an Attorney" by Lynn Thomas Strauss. VOL. 6, 

NO. 2, P. 32. 
"Is Peace Possible in the Patriarchy?" bv Jane Kennedy. VOL. 5, 

NO. 4, P. 21. 
"Judith Lacaria: Artist and Teacher," Interview by Lynn Thomas 

Strauss. VOL. 5, NO. 1, P. 11. 
"Justice Sandra Dav O'Conner: Making History" by Lynn Thomas 

Strauss. VOL. 6, NO. 2, P. 4. 
"Karen Page: Fiber Artist" by Karen Page. VOL. 5, NO. 1, P. 18. 
"Lawyerbane," a Poem by Joanne Creager. VOL. 6, NO. 2, P. 16. 
"Let the Bird of Earth Flv: A Report on the Gathering" by Helen 

Hughes. VOL. 5, NO. 1, P. 25. 
"Marriage in Early Utah: Pattern and Patchwork" bv Maureen 

Ursenbach Beecher. VOL. 5, NO. 3, P. 29. 
"Memories Of A Great Aunt" bv Lillian Clark Canzler. VOL. 5, 

NO. 3, P. 9. 
"Men Changing: A Bibliography" bv Peggy Jeffers. VOL. 6, NO. 3, 

P. 39. 
"Mothering Reconsidered" by Joe Agne. VOL. 6, NO. 3, P. 28. 
"Movie Review of Personal Best" bv Emily Wasiolek. VOL. 6, 

NO. 1, P. 38. 
"My Last Glimpse of Miranda," a Storv by Lynette Iezzoni. VOL. 5. 

NO. 2, P. 31. 
"My? Wife," a Poem by Michael Chandler. VOL. 6, NO. 3, P. 34. 
"Not One But Two: Repetition and Identity in Gertrude Stein" by 

Elizabeth Fifer. VOL. 5, NO. 4, P. 35. 
"The Name Change Game" bv Ed Bailev-Mershon. VOL. 6, NO. 3, 

P. 21. 
"Nursing: Healing in a Feminine Mode" bv VeNeta Masson. VOL. 6, 

NO. 1, P. 7. 
"Oh She Dances" (Poem) bv Katharvn Machan Aal. VOL. 6, NO. 4, 

P. 23. 
"The One That You Love" (Poem) bv Deborah Friedrich. VOL. 6, 

NO. 4, I'. 7. 
"The Opening of Doorways" (Poem) bv S. De Mattia. VOL. 5, 

NO. 1, P. 28. 
"Paintings of Feelings and Atmospheres: An Artist's Statement" 

by Sandra Salus Kamp. VOL. 5, NO. 1, P. 7. 
"The Peace Museum." VOL. 5, NO. 4. P. 22. 
"Peace Vigil in Damariscotta" bv Lee Shumer. VOL. 5, NO. 4, 

P. 20. 
"Phoenix" (Poem) by Joanne V. Gabbin. VOL. 5, NO. 2, P. 28. 



Photo Essay of "Field Rotation," a Sculpture by Mary Miss. 

photographed bv Karen Deslierres and Buzz Hume VOL. 5. 

NO. 1, P. 20. 
Photos-Poems bv Linda Ritchie and Lorl Scid VOL. 6. NO. 1. 

P. 27. 
"Portrait of a Professional" bv Joanne Creager VOL 6. MO 2. 

P. 25. 
"Portrait of the Lawyer as Artist" bv Susan J Martin VOL. 6. 

NO. 2, P. 17. 
"The Promise to Return" bv Nora Massignotti-Cortesc VOL. 5. 

NO. 2, P. 26. 
"Queen Love" by Edwin Bruell. VOL. 6, NO 3. P. 26 
"Recovering the Stories of Oklahoma Women" bv Barbara Hillver 

Davis. VOL. 5, NO. 3. P. 3. 
"Reflections on Slender Bender" bv Donna Bandsira VOL. 6. 

NO. 1, P. 14. 
"Research Guide to Women in American History" bv Lvnn Thomas 

Strauss. VOL. 5, NO. 3. P. 36. 
"The Role of Women in the American Peace Movement" by Lvnn 

Thomas Strauss. VOL. 5, NO. 4, P. 3. 
"Sci-Fi-Flic," a (Poem) bv Joan Barchard Lewis. VOL 5. NO 4. 

P. 31. 
"South Suburban Nuclear Freeze Committee" bv Kat hemic 

Schwartz. VOL. 5, NO. 4. P. 12. 
"State of the Quarterly, Editor's Column" bv Helen Hughes. Editor. 

VOL. 6, NO. 2, P. 46. 
"Stepfathcring." (Poem) by Michael Chandler. VOL. 6. NO. 3. P. 
36. 
"The Things I Must Do" (Poem) bv Judith Lacaria VOL. 5. 

NO. 1, P. 12. 
"Third World Women: The Struggle Continues" Introduction by 

June Patton. VOL. 5, NO. 2, P. 3. 
"Third World Women: The Struggle Continues" Photo Cover by 

Dick Burd. VOL. 5, NO. 2. 
"'This is no way to Live'...: Women Law Students Look at The 

Law School Experience: bv Julie A. Norman. VOL. 6, NO. 2, 

P. 27. 
"Time to Commence," address bv Nancy Haegel. VOL. 5. NO. 1. 

P. 22. 
"Tootsie: a Father-Son Review" bv David and Eric Matteson. 

VOL. 6, NO. 3. P. 17. 
"Transience: An Artist's Statement" bv Kathleen Crowley Cothroll. 

VOL. 5, NO. 1. P. 9. 
"Twilight of the Gods" by Doug Knox VOL. 6. NO. 3. P. 5. 
"Two Faces of Aphrodite" (Poem) bv Paul Friedrich. VOL. 6. 

NO. 4, P. 7. 
"Vulvas, Breasts, and Buttocks of the Goddess Creatress 

Commentary on the Origins of Art" bv Marija Gimbutas. VOL 6. 

NO. 4, P. 8. 
"Waiting for Christine" bv Elizabeth Havey. VOL 6. NO 4. 

P. 25. 
"War is no Game: Public Action Coalition on Toys" bv Victoria 

Reiss (adapted). VOL. 5. NO. 4, P. 26. 
"The Weaver" (Poem) by Harriet Marcus Gross VOL 5. NO. 3. 

P. 15. 
"What The World Needs Now" by Reverend James M Reed 

VOL. 6, NO. 3, P. 9. 
"Who's Who in the Peace Movement " VOL 5. NO 4. P. 9. 
"The Woman Who Wears Dead Snakes on Her Arms" (Poem) by 

Katharvn Machan Aal. VOL. 6. NO. 4. P. 23. 
"A Woman Wins First Place in The Worldloppel Competition'' by 

Emily Wasiolek VOL 6. NO 1. P. 33. 
"Women and Agricultural Technology in The Third World" by l<>v 

Gleason Carew. VOL. 5, NO. 2. P. 5. 
"Women In Film" by loan Barchard Lewis VOL 6, NO 4. 

P. 34. 
"The Women in Ward C." a (Poem) by Sue Saniel EHdnd VOL 6, 

NO. 2, P. 31. 
"Women's Liberation: Ten Years Later" by Walter S I'eldman. 

VOL. 6, NO. 3. P. 11 
"Writing From A Premenstrual Perspective" (Poem) by Alice Dan 

VOL 6, NO. 1. P. 18. 
"Yoga As a Discipline For Women" bv Ginger Plvs VOL 6. 

NO. 1, P. 21. 
Zimbabwe's Children: Education, Women and Child Care in Post- 

R evolutionary Societies" bv Polakow Suranskv VOL 5. NO 2. 

P. 10. 



45 



ABOUT OUR STAFF 




Nancy Dominik 

We announce with sorrow the 
passing of our friend, Nancy 
Dominik, typesetter, who worked 
in the graphics department and 
assisted in the production of The 
Creative Woman from 1980 to 
1983. 



Mimi Kaplan 

Mimi Kaplan died recently after a 
long and heroic struggle. The 
courage, grace, and caring for 
others that marked her response to 
her illness were inspirations to us. 

Mimi was a supporter of The 
Creative Woman from the very 
first. She served on the Advisory 
Council, and published articles in 
this publication on children's 
literature, breast cancer and peer 
counseling. Her influence con- 
tinues. 



46 




Make checks payable to The Creative IVoman/GSU. 
Please send me The Creative Woman for one year. Enclosed is my check or money order for 



$ 7.00 regular subscription 

$ 9.00 foreign subscription 

$10.00 donation and automatic subscription 

$15.00 institutional subscription 



Return to: The Creative Woman 

Governors State University 
Park Forest South. IL 60466 



Name _ 
Address 
City 



State 



-Zip. 



uw 




/ a* \ «► 




The 
, Creatine 
Ionian 



Nonprofit Org. 
U.S. Postage Paid 
Park Forest, IL 
Permit No. 178 



College of Education 
Governors State University 
University Park, IL 60466-3193 






\:; : : z : 












Address Correction Requested